7) es 
ie 
id 


Sedge SET IER ee 
: iy Sax. => ‘ fi 


ae iy 

th a vay 

hye a a . 

tie va ahi ®, 
ed saad NA] ne 

a \ vied as aaa P 


. 7, 
‘ o 
i > 
, 
7 Ps A 
“ ae 
i ‘ Sf 
. yy ti’. 


‘ite * 
ee 4 pe 7 
“Ay. ~~ (ALA a ane 


me 


i 


PON 


ia 


a AN EXHIBITION OF 


~ PORTRAITS & LANDSCAPES 
BY RICHARD EDERHEIMER 


AT THE ANDERSON GALLERIES 
4 : PARK AVENUE -AND FIFTY-NINTH STREET 
pe NE NEW. YORK CITY. ers ee etn oe nee ys ot ae ee 


aes COMMENCING THURSDAY DECEMBER SECOND 


PORTRAIT OF 
WILLIAM MARION REEDY 
BY RICHARD EDERHEIMER 


A LETTER FROM MR. EDERHEIMER 


My dear Mr. Kennerley :— 


The exhibition which you are so kindly arranging for me 
in no way represents the fruit of a life’s work but merely a 
promise of future achievement. 


For one who has lived with the very best that art has to 
offer and whose critical faculty has been sharpened by a con- 
stant search for the highest it is both difficult and embarrass- 
ing to apply criticism to his own work or to write of it. bk 


That I should ever have become an art dealer, I feel now, 
was but one step towards art appreciation and creation. As 
a dealer | always felt that I was a lover of art, an amateur, the 
commercial side being relegated to the background; | never 
could bring myself to sell the thing which did not arouse my 
own enthusiasm. 


Beginning as a dealer in prints, | abandoned this field 
readily, irrespective of the good-will built up in ten years, 
when the passion for original drawings took hold of me. Hav- 
ing my eye trained to the master drawings of Durer, Rem- 
brandt, Leonardo and Michelangelo, I never tried to draw my- 
self, having too much respect for art ever to try. [t took Ham- 
ilton Easter Field’s coaxing, in June, 1918, when I was stop- 
ping with him‘ in Ogunquit and the circumstance that | did not 
want to be an idler during my vacation on the beautiful Maine 
coast, to make me take up brush and paints. 


It was an experiment for Field and a joke to myself. 
Field believing that one whose eye was trained by the highest 
in art during many years did not require the toil and devel- 
opment of the art student, wanted to see what such a trained 
eye could attain without any technical knowledge. His only 
lesson was: “Here are brushes and paint—now go out on the 
rocks and try to come as near to nature as possible.”’ 


At first I was most sceptical, but soon quite amazed to dis- 
cover how easy it was to make a (bad) little sketch. Soon 
I became so intoxicated with the bliss of creating that I painted 
all the time. My very first portrait, that of the Japanese artist, 
Yasuo Kuniyoshi, is in this exhibition. It was done five weeks 
after the first childish efforts with the brush (some of which 
are also shown). From that time on I neglected my land- 
scape studies to paint portraits. 


After my return from Maine in August, 1918, I converted 
my office into a studio and went on painting portraits, using 
as sitters models and those who were kind and friendly 
enough to sit for me. The portrait of the colored lady 
“Daisy was painted in September; that of Field was done 
in December of that year and early January, 1919. After 
my return from Europe in September, 1919, I met our friend 
the late William Marion Reedy and found a fitting subject in 
him for a portrait in which I| tried to come nearer my ideal— 
the style of the primitive Dutch and German masters. 


This was followed by an uninterrupted series of portraits 
during the winter. This last summer was again spent in 
Ogunquit and the result of three busy months were some 
twenty portraits, twenty-five landscapes and a few still-lifes. 


I consider that my landscape painting is merely a pastime; 
it brings me into close communion with the beauty of nature. 
I feel that my real vocation is portrait painting. 


Always somewhat mystically inclined the subconscious 
contact between painter and sitter reveals to me one of the 
wonders of the unknown. If a sitter offers resistance in estab- 
lishing this contact or is careful not to reveal any part of his 
inner self, the portrait will be a failure or an empty external 
likeness. On the other hand if this contact is established | am 
working as in a trance, almost unconsciously portraying char- 
acteristics not even revealed to my eye. In my earliest works 
already | was amazed to find certain qualities of which I was 
not at all aware while painting, but which I recognized in these 
sitters, later, when knowing them much better. 


Portrait painting should never just be a representation of 
the outward features and appearance of the sitter. Photog- 
raphy can get much better results in that. The one thing that 
makes out of a picture a work of art is that mysterious element 
which makes a painting live. Technical accomplishment is 
only secondary. 


This I offer as an excuse for daring to exhibit these first 
productions of two years of study as a painter in spite of tech- 
nical shortcomings. 

Let me take this occasion to thank you for your interest in 
my art and your generosity toward me, a novice in the field of 
painting. 

Yours very faithfully, 


RICHARD EDERHEIMER 


ee a ae 
CSCO MON DMN BWNH— OU @MnN AU BW Hh — 


40 
net 
42 


PORTRAITS 


YASUO KUNIYOSHI 

DAISY 

HAMILTON EASTER FIELD 

THE LATE WILLIAM MARION REEDY 
MRS. CLARENCE M. LEWIS 

MISS NITA WOLFF 

MRS. A. J. MARCUSE 

MISS VERA RODNEY 

MRS. R. EDERHEIMER 

THE FRENCH WAITER 

MISS FALTER 

PORTRAIT SKETCH OF A NEGRO 
MR. A. HIRSCH 

MRS. NILES SPENCER 

ROBERT LAURENT, THE SCULPTOR 
MISS LUCY HOLT 

DR. GEORGE JAY SMITH 

MRS. ASHERMAN 

THE ARTIST IN HIGH SPIRITS 
FELIX WILDENSTEIN, ESQ. 


LANDSCAPES 


FOUR EARLY OGUNQUIT SKETCHES 
PALISADE SKETCHES (2) 
BRONX PARK SKETCHES (2) 


EARLY SPRING, VAN CORTLANDT PARK 


HIGH BRIDGE 
SPRING IN CENTRAL PARK 


BELOW THE PALISADES, NEAR ALPINE (2) 


ORCHARD IN ALPINE, N. J. 


GROUNDS OF D. F. PLATT, ESQ., ENGLEWOOD 


ROUGH SEA, OGUNQUIT, ME. 

DEVILS KITCHEN, OGUNQUIT, ME. 
PULPIT ROCK, OGUNQUIT, ME. 
PERKINS COVE FROM FIELDS POINT 
JOSIAS FALLS, PERKINS COVE 

FARM HOUSE BY THE SEA, OGUNQUIT 


AUGUST 
SEPTEMBER 
- JANUARY 
SEPTEMBER 
SEPTEMBER 
SEPTEMBER 

JANUARY 
JANUARY 
FEBRUARY 
MARCH 
APRIL 
MAY 


TORY 


JULY 
JULY 
AUGUST 
AUGUST 


_ SEPTEMBER 


OCTOBER 
NOVEMBER 


JUNE AND JULY 


JULY 
JULY 
APRIL 
APRIL 
MAY 
MAY 
MAY 
JUNE 
JUNE 
JULY 
JULY 
JULY 
JULY 
JULY 


JOSIAS RIVER WINDING INTO PERKINS COVE AUGUST 


STORMY COAST 
BALD HEAD CLIFF 


FISHING VILLAGE AND FIELD’S POINT, 


PERKINS COVE 


AUGUST 
AUGUST 


SEPTEMBER 


STILL LIFES AND FLOWER PIECES 


Still LIre 
WOOD LILIES 
PEACH AND FLOWERS 


DECEMBER 
JULY 
SEPTEMBER 


OLD AND MODERN MASTERS 

ii : FROM THE : 

ee Rh EDERHEIMER es 
ae COLLECTION 


THE ANDERSON GALLERIES 


PARK AVENUE AND FIFTY-NINTH STREET | 
NEW YORK 


SDAEL 


JACOB VAN RUY 


OLD MILL 


BER 119] 


NUN 


REMBRANDT 


AN OL 


AY 


D DOORW 


SALE NUMBER 1415 
‘ON PUBLIC EXHIBITION FROM APRIL THIRD 


. “ | “CATALOGUE OF 
ORIGINAL DRAWINGS 


BY 


OLD AND MODERN MASTERS 


FROM THE 


R. EDERHEIMER 
COLLECTION 


EXAMPLES OF THE WORK OF THE 
GREAT ITALIAN, FRENCH, GERMAN, 
DUTCH, FLEMISH AND ENGLISH ARTISTS OF 
THE XVI, XVII, XVIII AND XIX CENTURIES 


TO BE SOLD 
ON THE EVENING OF APRIL NINTH 
AT 8.15 O’CLOCK 


THE ANDERSON GALLERIES 
PARK AVENUE AND FIFTY-NINTH STREET 
NEW YORK 
1919 


CONDITIONS | OR) ‘SALE. 


1, All bids to be PER LOT as numbered in the Catalogue. 


2. The highest bidder to be the buyer; in all cases of disputed bids 
the lot shall be resold, but the Auctioneer will use his judgment as to — 
the good faith of all claims and his decision shall be final. He also 
reserves the right to reject any fractional or nominal bid which in his 
judgment may delay or injuriously affect the sale. 


3. Buyers to give their names and addresses and to make such cash : 
payments on account as may be required, in default of which the lots 
purchased to be resold immediately. 


4, The lots to be taken away at the buyer’s expense and risk within’ 
twenty-four hours from the conclusion of the sale, and the remainder of 
the purchase money to be absolutely paid on or before delivery, in default 
of which The Anderson Galleries, Incorporated, will not be responsible 
if the lot or lots be lost, stolen, damaged, or destroyed, but they will be 
left at the sole risk of the purchaser, and subject to storage charges. . 


5. To prevent inaccuraey in delivery, and inconvenience in the settle- 
ment of purchases, no lot will be delivered during the sale. 

6. All lots will be exposed for public exhibition in The Anderson 
Galleries before the date of sale, for examination by intending pur- 
chasers, and The Anderson Galleries, Incorporated, will not be responsible 
for the correctness of the description, authenticity, genuineness, or for 
any defect or fault in or concerning any lot, and makes no warranty 
whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. But 
upon receiving before the date of sale, expert opinion in writing that 
any lot is not as represented, The Anderson Galleries, Incorporated, will 
use every effort to furnish proof to the contrary, and in default of such 
proof the lot will be sold subject to the declaration of the aforesaid 
expert, he being liable to the owner or owners thereof for damage or 
injury occasioned by such declaration. 

7. TERMS CasH. Upon failure to comply with the above conditions 
any sum deposited as part payment shall be forfeited, and all such lots © 
as remain uncleared after twenty-four hours from the conclusion of the 
sale, will be resold by either private or public sale at such time as The 
Anderson Galleries, Incorporated, shall determine, without further notice,. 
and if any deficiency arises from such re-sale it shall be made good by the 
defaulter at this sale together with all the expenses incurred thereby. 
This condition shall be without prejudice to the right of The Anderson 
Galleries, Incorporated, to enforce the contract with the buyer, without 
such re-sale. 

8. Bips. We make no charge for executing orders for our customers 
and use all bids competitively, buying at the lowest price permitted by 
other bids. 

9. The Anderson Galleries, Incorporated, will afford every facility for 
the employment of carriers and packers by the purchasers, but will not 
be responsible for any damage arising from the acts of such carriers and ~— 
packers. 

Priced Copy of the Catalogue may be secured for fifty cents 
for each session of the sale 


The Anderson Galleries 


Incorporated 
ParK AVENUE AND Furry-NInTH STREET, NEw YORK. 
Telephone, Plaza 9356 Catalogues on request. 
SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN 


NOTE 


SHOULD like to explain the origin and meaning of this sale. It 
is very closely connected with the recent sale of drawings be- 
_ longing to Mr. Hamilton Easter Field, or rather with the owner 
ef these drawings. It was Mr. Field’s drawings which brought me 
_ to know him; and when I was spending my summer with him in 
Ogunquit, Maine, last year, he made up his mind to make a painter 
out of me. Whether he has succeeded only the future can tell, but 
he has inspired me with a passion to create, and I mean to devote 
all the time I have been giving to the details of my little gallery to 
painting. I have been painting in my office all winter and now 
I want to give up my office so I can spend all my time in my studio, 
-where, until I can make a living by painting, I shall continue my 
trade as expert and marchand amateur. | 
And now a few words as to the collection here offered. In trying 
to dispose of the greater part of my stock I naturally intended first 
of all to get rid of the things that were most in my way; but when 
making my selection and writing the catalogue I put aside one 
piece after another that came to me in collections and that I have 
never offered to my clients, and finally I had chosen all my good 
things and rejected all the poorer material. Of course, not all 
these drawings are great; there is material for the most moderate 
purse alongside of treasures fit for world-famous collections. But 
all the drawings are good and genuine. The catalogue, which is 
written with infinitely greater care than most catalogues, tries to 
_hbe as critical as possible. Every item has the endorsement of my 
? good name to be what it is represented in these pages. I do not 
make attributions; I only reject those I consider faulty. Only in 
absolutely established things do I feel justified in giving a great 
~ name without reserve, while it is a good principle to retain modest 
attributions. This latter principle can best be illustrated by the 
_ wise words of Arthur Strong, quoted in C. F. Bell’s excellent publi- 
cations of the Drawings of Christ Church, Oxford. He says: ‘‘The 
stream of tradition has brought down much that was once matter 
of common knowledge or of easy verification, and that, left to our 
own resources, however elaborate, we should find it impossible to 
restore.’’ If an attribution is solely based on my own opinion it 
is so stated. RICHARD EDERHEIMER 


‘ : = ~ 
ey he » | 
sy, = . 
2 ite (ee 
' “Re * ‘ Ls 
4 i 
cad ¥) 


a 


DRAWINGS OF THE 
GREAT MASTERS 


a 4 
+ * = ie, on] 
ete. <i cae er 


“—m 


> 
iy cae 1. 
Sune 
Ree 
4 Le 


3ENTH AND SIXTEENTH CENTURIES 


ITALIAN SCHOOL 
awl | to. 37 


as BACCIO BANDINELLI 
Zt a 1498-1560 
‘Contemporary and rival of Michel Angelo 


eg | 
al ST. JEROME, SEATED, WITH THE LION 


° i 
“am 


Powerful pen drawing. strongly suggestive of Michel Angelo’s 


- Ten Height, 1114 inches; width, 734 inches 
( 2 SEATED FIGURE OF AN ANGED (or SAINT) 


Vigorous pen drawing, signed with the initials B.B. in the 
_ lower left. Height, 914 inches; width, 514 inches 


CA CAMBIASO (called Luchetto da Genova)! 
a be: } 1527-1580 
% A SAINT, SEATED ON CLOUDS 
| Vivid and characteristic reed-pen drawing with India ink wash. 


47 ia the Hamilton Easter Field collection. 
Height, 1114 inches; width, 71% inches 


4 LOT OF FOUR DRAWINGS, in peculiar pear shape, repre- 
a senting : 
vs ~g (a) Christ the Infant presented to the High-Priest. 
, (b) The Annunciation of the Virgin. 
(c) Christ carrying the Cross. 
(d) The Descent of the Holy Ghost. 
All four are in Cambiaso’s well-known style, but only the first 
one, the presentation to the High Priest, a brilliant example, 


a 


or 


. L4 ANNIBALE CARRACCI 
Ly" 1560-1609 \ 


pet 


appears to me to be from his own hand. A certain looseness 
in the technique makes me believe that the other three com- 
positions are works of a pupil, made to decorate a certain space 
in co-operation with the master. 

All about 131% inches high; 101% ar wide 


DOMENICO CAMPAGNOLA (attributed ©) 
1484-1556 

WIDE MOUNTAINOUS LANDSCAPE, WITH CLASSI- 

CAL RUINS AND STATUES _ 
In the middle-ground a city at the foot of a hill. 
Like most of the drawings given to the above attribution this 
drawing was previously attributed to Titian. Although it has 
all the earmarks of Campagnola’s style, his composition and 
typical flow of line, I am not fully convinced of his authorship. 
In certain spots it lacks his peculiar precision of line and there » 
more resembles Titian’s style. I am inclined to think that 
Agostino Carracci made this drawing. We know numerous. | 
drawings from his hand which bear a strong resemblance to 
the manner of Domenico Campagnola. 
A. beautiful Italian drawing. 

Hees 8 inches; width, 11 inches 


GROUP OF FIVE BOYS AT PLAY 

Magnificent charcoal sketch, showing the strong influence of 

Raphael’s style. 

A drawing of highest artistic quality. : 
Height, 53g inches; width, 854 inehes 


POLIDORO DA CARAVAGGIO (old attribution) 


1495-1543 
ROMAN WARRIOR AND HORSE 
Pen sketch. 
Interesting 16th Century drawing, from the collection of Sir 
Joshua Reynolds. Height, 45g inches; width, 5% inches 


6 


pit. 


a 


, ‘RAFFAELLO DAL COLLE 
) (Raffaello di Michelangelo di Luca dal Colle) 
Born at Sansepolcro, before 1500; died there, 1566 


GUARDIAN OF THE TOMB OF CHRIST 


‘Beautiful sanguine drawing with the Collector’s mark Fagan 
_ 569, Charles I? Earl of Arundel or Laniére. 

_ The attribution on the reverse together with the note: ‘‘Si trova 
il quadro nel Duomo a San Sepolero’’ led to interesting re- 
search and an amusing discovery: In Thieme Becker, Vol. VII, 
___ page 215; Walter Bombe writes about our artist amongst other 


things: ‘‘Patzak has recently produced evidence worthy of 


___ attention that Colle belonged to the closer circle of pupils of 


Raphael. One of the arguments is, that Colle has copied some 


a parts of the Fresco in the Stanza del Heliodor exactly, in 
order to use them again later; as is, for instance, shown in 
the figure of Heliodorus himself, which we find with slight 


alterations in the form-of a guardian of the tomb, in Colle’s 
‘Resurrection of Christ’ in the Cathedral of San Sepolero.. .”’ 
The drawing here shown is undoubtedly Colle’s memorandum 
for this theft, as it tallies almost exactly with the prostrate 


figure of Helidorus in Raphael’s famous Fresco. 


A highly interesting drawing and document. 
Height, 514 inches; width, 73 inches 


GIOVANNI BATTISTA FRANCO 
1510-1580 


CHRIST HEALING THE BLIND MAN 


- To the right, Sketch of an Angel. 
Pen drawing from the Collection of Sir Peter Lely and the 
Earl of Pembroke. There is a peculiar influence of the 
German art of the 16th Century noticeable in this drawing. 
The Angel looks as if it were copied from Durer. 
Highly interesting sketches. 

Height, 914 inches; width, 134 inches 


ft 


' 7 


ITALIAN SCHOOL (previously attributed to Fra Bartolomeo) | 


10 


16th Century 


HEAD OF AN OLD MAN (SAINT?) | a 


Broad charcoal sketch, in the lower left a sanguine ce ‘oF 1] 


a head, on the reverse charcoal and sanguine sketches. 


A brilliant sheet of sketches, but undoubtedly later than Fra_ 
Bartolomeo. To me it looks like work of the later 16th Cen- 


tury Venetian School, possibly Tintoretto. 


Height, 984 inches; width, 65g inches | 


ITALIAN SCHOOL 
16th Century 


HOLY DISPUTA 
Very fine pen and India ink drawing, similar in grouping to the 


famous compositions of the same subject of Raphael and 


Albrecht Diirer. 
Rounded on top, and somewhat damaged. 


A drawing, which in my opinion will most likely be established | 


as the work of a very important master; when research in the 
European collections again becomes possible. Framed. | 


Height, 734 inches; width, 8 inches — 


TRITON AND CUPIDS AT PLAY WITH A DOLPHIN 
Highly spirited Italian 16th Century drawing. Charcoal, 


circular. Framed. Diameter, 634 inches — 


SCHOOL OF LEONARDO DA VINCI 
Lombard, Early 16th Century 
NUDE MAN 
Pen drawing. 
This exquisite little drawing came into my hands attributed 
to Leonardo da Vinci. With names of such magnitude I pre- 


fer to be very careful. I submitted it to Dr. Sirén, who shares | 


my view that it is not by Leonardo himself. 


Height, 4 inches; width, 15g inches | 


8 


i 
, 
' 
q 
f 
| 
J 


—— 


v 
ie 


ee. FILIPPINO LIPPI 


Florentine School, 1457-1504 


MAN OR SAINT, HOLDING A BOOK 
Superb pen drawing from the Sir Thomas Lawrence Collection. 


y _ This interesting drawing came into my possession attributed 
_z to Leonardo da Vinci. I did not think it representative of the 


master’s style but felt that it was the work of a very great 
master. I then submitted it to Dr. Sirén, who asked me to let 


___ him have it for a few days to make some research, as he con- 
_ __Sidered it sufficiently interesting. He then wrote me the 


following letter: = 

““The little pen and ink drawing representing a standing monk 
with a book and a staff(?)—-possibly St. Anthony—which you 
showed me the other day and which I now have studied again 
most carefully, is not as acclaimed by tradition a sketch by 
Leonardo, but the work of a younger contemporary master. 
I think there can be no doubt that it was executed by Filippino 
Lippi. The general character and position of the figure is very 
Filippinesque and the actual penmanship is the same as in 
certain of Filippino’s drawings such as the sketch in the Uffizi 
representing Christ among the doctors. The peculiar treat- 
ment of the hands and the feet is a conclusive proof of 
Filippino’s authorship. It is a very spirited and expressive 
little drawing by one of the most captivating of the Florentine 
Quatrocentisti.’’ Height, 47% inches; width, 444 inches 


NICOLO DA BOLOGNA 
Primitive Italian Miniaturist of the 14th Century 


MINIATURE: The Initial S. with a representation of the 
Slaughter of the Innocents, in the center King Herod en- 
throned. 
Superb early miniature in very rich coloring on gold ground, 
vellum. Manuscript of music on the reverse. Part of an old 
missal which has been cut apart. Other initials by the same 
hand and with the same attribution are known to the writer. 
Height, 814 inches; width, 7 inches 
9 


17 


IM 


Ce 19 
(i ‘« 


. Count Zanetti reproduced in chiaroscuro woodcuts. i. 0) | 


FRANCESCO MAZZUOLA, called Il Parmigiano | 
1504-1540 a 3 | 


FULL-LENGTH FIGURE OF A MAN (SAINT) 


Beautiful drawing in ink, sepia wash and white high-lights on | i 
green paper. In the style of the Parmigiano drawings which | : 


From the F. Abbot Collection. Framed. | 
Height, 6 inches; width, 214 inches | 


FULL-LENGTH FIGURE OF A NUDE YOUNG MAN 
(ST. SEBASTIAN?) 


Pen and India ink drawing on greenish-grey paper. 
From the F. Abbot Collection. 


- Height, 814 nee width, 3 inches © 


t 


CUPID STRINGING HIS BOW 


Brilliant and characteristic little sanguine dvawwine: On the > 
reverse sketches of three men in the same medium. 
From the Nathaniel Hone, R.A., Collection, 1785. 


Height, 73 inches; width, 334 inches 


. GIANFRANCESCO PENNI, called il Fattore 
1488-1628 


Pupil and assistant of Raphael 


SHEET OF SKETCHES 


In the center, Woman holding a Sword (Justice) ; to the left a 
huge bird, below five sketches of Amorini. Above a cornucopia, - 
mitre and other small sketches. 

Superb delicate pen drawing of the closer school of Raphael. 
From the Collections of Thomas Hudson, 1779, and W. G. > 
Becker, 1819. 
This interesting sheet of studies is said to represent sketches 
for the Cupid and Psyche frescos in the Farnesina, in which 
Penni co-operated with Raphael. 


Height, 8144 inches; width, 614 inches 
10 


JACOPO CARRUCCI, called da Boers 
Forentine School, 1494-1557 
One of the greatest Florentine dratiemen 


MAN, ALL SEATED 


/ On the reverse Antique Statue (Jupiter), and four heads in 
,. the upper right corner. 
_ Marvelous sheet of sanguine drawings, signed Pontormo in 
the lower left on the front sheet. Undoubtedly a work of the 
ed ak Florentine and of great beauty. 

Height, 6 inches; width, ae inches 


GIOVANNI ANTONIO LICINIO, called Pordenone 


(old attribution) 
1483-1539 


a. THE VIRGIN AND CHILD, DEFEATING THE DEMON 
OF EVIL 


if Interesting 16th. Century Italian Chiaroscuro drawing, pen 
. and India ink, heightened with white, on greyish-brown ground. 
Height, 1114 inches; width, 8 inches 


ie: FRANCESCO PRIMATICCIO (attributed to) 
ma '. Born at Bologna 1504; died Paris, 1570 


22 RECLINING FIGURE OF A RIVER-GODDESS 
ty Beautiful design for a wall decoration, suggestive of the 
f Fontainebleau frescos. Charcoal on brown paper, heightened 
ith white. On the mount an old attribution: Primathaos. 
’ The attribution to Primaticcio appears quite plausible to the 
writer. Height, 714 inches; width, 163 inches 


BIAGIO PUPINI 
. Flourished at Bologna from about 1530-1540 
23 THE VIRGIN, WITH THE YOUNG CHRIST AND ST. 
JOHN (similar to Raphael’s Madonna del Cardellino) 
. Chiaroscuro drawing in ink and white color on green paper, 
from the collections of Sir Peter Lely and the Earl of Pem- 
broke, where it was attributed to Vicenzo di Biagio, 1435 to 
, yr 535, Height, 141 inches; width, 934 inches 
. 11 


24 


NUDE MAN | 
Resting on a couch and some figures standing at the nae of 
the reclining (sick) man. a 
neha by the same hand and ee peer as the preceding 


Charles I or the Earl of Aruniee On the border a. notes 
‘‘Biageio, outline by R. U.’’ (Raphael). 

Height, 9 inches; width, 15%) inched | 
Dr. Oswald Sirén wrote to me about ies: two items: ‘‘These | 
two mus Wek are characteristic Speanang of the Bolognese | 


and ites and dane in exactly the same uate in the Col-} 
lections at Florence, Stockholm and elsewhere. The old tradi- | 
tional attribution which these drawings have borne since | 
Vasari’s time is Biagio Pupini. I am convinced that this name 
is perfectly right. Biagio Pupini was a later follower of 
Francesco Francia, strongly influenced by Raphael and the | 
other Roman masters of the early XVIth Century. 
As a draftsman he approaches Amico Aspertini, though his | 
style is often larger and more coloristic. Your two drawings | 
are fine examples of Pupini; they ought to interest anybody 
who is forming a collection of Italian Renaissance drawings.”’ 


FRANCESCO RAIBOLINI, called il Francia 
1450-1816 


SHEET WITH NUMEROUS PEN SKETCHES 


In the center: Holy Family, above a wounded lion; to the left _ 
large head of an old man, in the lower center and right two | 
Amorini at play and one asleep. 
Exceedingly fine sheet of drawings from the Earl of Pembroke 
Collection where it was catalogued under the above old attri- 
bution, which I do not feel justified to discard, having no better 
to offer. I am, however, not personally convinced that Francia 
was the author of this drawing, but believe that it is an un- 
usually fine early Italian 16th Century drawing of very rare 
qualities. Height, 9 inches; width, 65g inches 
iz vy 


JANIELE RICCIARELLI, called da Voltera (attributed to) 


1509-1566 


The Saint in armor, fallen from the Horse which is rearing 


behind, seeming to see an enlightening apparition. Roman 
soldiers to the left. 


Powerful composition in chiaroscuro, charcoal and sepia wash 


~ with white high-lights on brown end: 


Height, 157% inches; width, 1114 inches 


GIULIO ROMANO 
Roman Schoot, 1498-1546 
SKETCH FOR THE “TAKING OF CARTHAGE BY 
SCIPIO’’ 


- On the reverse the design of a griffin. 


Interesting pen drawing, from the Collection of Col. Harrison, 
who quotes the British Museum authorities as responsible for 
the attribution. Framed. 

Height, 634 inches; width, 814 inches 


‘GIOVAMBATTISTA DEI ROSSI, called Il Rosso Fiorentino 


Florence, 1494; died Fontainebleau, 1541 


SHEET OF PEN SKETCHES 


Above, a Holy Family ; below, two heads of youths in adoration. 
Interesting early 16th Century Italian drawing. 
For the above attribution I am indebted to Dr. Sirén. 
On the reverse the stamp of the Ambrosiana, Milan. 
Height, 614 inches; width, 45 inches 


ORAZIO SAMACCHINI 
1582-1577 

CLASSICAL SUBJECT 
Roman soldiers bearing standards surround the two central 
figures, consisting of a crowned king and a naked youth. In 
the background the soldiers’ tents. 
Chiaroscuro drawing in pen and bistre heightened with white, 
on brown paper. 
From the Earl of Pembroke Collection. 

Height, 1614 inches; width, 1034 inches 

13 


—— _ 


—— a 


i 


. 


We 


Lae 


31 


PELLEGRINO TIBALDI, called Pellegrino de Bologna : 


also called Pellegrino ~ Bellegrini_ | 
1527-1592 


DEMON, OR GIANT 


Presumably a sketch for a ‘‘ Battle of Giants.’’ Tremendously 
bold and vigorous drawing in charcoal, bistre and white high- 
lights. | Height, 1234 inal width, 9 inches 
¥ . 4 

‘| 

DOMENICO ROBUSTI (TINTORETTO) 

1562-1627 
Son and pupil of Jacopo Tintoretto — 


PROCESSION OF VENETIAN NOBLEMEN ; 
Superb Charcoal drawing, signed in the lower right: Domco ; | 
Tentoretto. If it were not for this signature I would have 
given it unhesitatingly to the hand of Tintoretto the ‘ae 
as it shows all the characteristic qualities of the latter’s hand. 
However, it is a wise principle in collecting drawings to secant 
a modest old attribution while it is not advisable to put too 
much faith in a big name, unless the quality supports the 
attribution. 4 
Formerly in the collection Ravaisson Mollien Aine of the 
Louvre). Height, 8 inches; width, 141% inches ~ 


- 
pe re EN Ol er ptee a ir eee 


TIZIANO VECELLIO (TITIAN) | 
1477-1576 


THE LORD CREATING THE LIGHTS OF HEAVEN 


From the Harl of Pembroke Collection, described and repro- — 
duced by 8. Arthur Strong, in his work on the drawings of 
Wilton House, Part I, No 9, as follows: ea 
‘‘Pen drawing in bistre heightened with white. The Eternal 

floats through space in the act of projecting the Sun and Moon 
in their appointed courses. Below, on the surface of the new 
earth, plants and animals are in the full enjoyment of life, 
Leviathan takes his pastime in the deep. The drawing is a ~ 
modification or rather a free transcript of the similar composi- 
tion by Michelangelo on the ceiling of the Sistine Chapel, which ~ 
Titian must have seen when he visited Rome in 1545. It can- 


14 


Mae oe, 


wean 


oe 


edad 


SS 


He 


ERR da Riven: 


TITIAN 
CREATION OF THE LIGHTS OF HEAVEN 


’ 


[NuMBER 32] 


>. pion om —« Si 
on | ov 2 ne, Fons 
pat a as ili r3 ‘enti i he Ae Fs 


eae 121% inches; oat 10Y, inches 


~’ [SEE ci ieee 


aperd drawing. ; ‘Height 43/ inches; width, 214 se 


1 
1 


TITIAN (attributed to) 


3 Philip Besley Lankrink, page to King Charles ie (Fagan 
No. 415.) Height, 10 inches; width, 8 inches 


SANTI DI TITO 
Florence, 1536-1603 


35 YOUTH OR SAINT, KNEELING IN PRAYER 
_f~— Charcoal sketch with white high-lights. Superb late Florentine 
| e 16th Century drawing, plainly showing the influence of Andrea 


| del Sarto and Fra Bartolomeo. 
| iy. Height, 12 inches; width, 61 inches 


V 


36 


37 


- (probably David) enthroned, surrounded by courtiers in East- 


FEDERICO ZUCCARO- 
15438-1609 


LARGE COMPOSITION “ta ae 
Described in the Pembroke sale catalogue as follows: CoN King 


ern dress; bodies of dead and dying smitten by the plague are. 
being dragged off to a funeral pyre; in the foreground the 
Prophet Gad, with uplifted hand, addressing David.’’ a 
Powerful composition with magnificent Architecture. Pen and ) 
sepia wash, touched with white. z 
From the Earl of Pembroke Collection. 

Height, 134% inches; width, 16% inches 


THE VIRGIN AND CHILD, enthroned, bestowing blessing 
upon numerous Saints, adoring her 
Beautiful composition, in pen and sepia wash. 
From the Hamilton Easter Field Collection. 
Height, 14% inches; width, % inches 


SIXTEENTH CENTURY 


SWISS, GERMAN AND DUTCH SCHOOLS 
LOTS 38 to 53 | 


JOST AMMAN 
1539-1591 


FORTITUDE | 
Young woman, carrying a broken column, in the distance 
landscape with villages and ruins. 
Pen and India ink. 
From the R. Peltzer Collection. 

Height, 534 inches; width, 444 inches’ 


TWO NOBLEMEN WITH A HORSE 
Pen and India ink drawing. 
From the Peltzer Collection. 
Height, 3% inches; width, 414 inches 


16 


EU 


BR 
ER 41 


RG 


JOE 


NUMB 


. ; 


HERRI MET DE BLES (Blesius) (Attributed to) 
16th Century 


40 ST. LUKE PAINTING THE MADONNA 


Bis? 


> 


Pa 


y Al 


1g? 
i" 


, 


Cireular pen and India ink drawing on yellowish ground with 


white high-lights, | 7 
-“ Beautiful composition with rich Gothic Architecture. The 


monogram of Lucas van Leyden on the round tablet on a pillar 
at the left apparently added by a later hand, also some of the 
pen lines have been strengthened in a later ink. This drawing 
was previously attributed to Dirk Vellert, the above attribution 
is due to Dr. Max J. Friedlaender. Diameter, 101% inches 


JOERG BREU 
1480-1537 


TUBAL CAIN, INVENTING MUSIC 
Masterly chiaroscuro drawing in pen and India ink on paper 
grounded in brown with white high-lights added. Magnificent — 
composition with rich Renaissance architecture and prospect 
Into an open landscape. Dated 1522. The monogram of 
Albrecht Aldorfer added by a later hand. This same compo- 
sition has been executed in oil by Breu on the wing of a small 
organ in the Fugger chapel at St. Anna, Augsburg. 
Thieme Becker, Vol. IV, page 594. Another chiaroscuro draw- 
ing of the same subject attributed to Breu is in the Uffizi Col- 
lection at Florence (Photograph Brogi), but according to 
Thieme Becker, this latter is a later repetition by a different 
hand. . 
There is no doubt, even without the confirmation in the 
**Kuenstler Lexicon’’ that the drawing here shown is the 
Original and the Florence drawing the imitation. If this draw- 
ing had been made after the Florence drawing with fraudulent 
intention, it is hardly probable that the name of the more 
famous Altdorfer would have been added as the author. 
A drawing of first importance. From the Ri. Peltzer collection. 

Height, 137% inches; width, 644 inches 

[SEE ILLUSTRATION | 
17 


42 


44 


ad 


CIRCULAR COMPOSITION , apparently representing a Foun 


tain of Youth. In the center in the foreground three women 
bathing, at the left a knight leading his wife to the fountain ; 


to the right a knight spectator, holding his horse. In the — 


middle-ground a party feasting with wine and music. Behind . 


a wall the roofs and towers of a medieval city. 
Pen drawing in Joerg Breu’s most characteristic style, arth 


colored in red, blue and light green. Drawings of this school of yj 


such quality are of the utmost rarity. Diameter, 11 inches 


ALBRECHT DtiRER (After) 


THE ANGEL WITH FEET OF COLUMNS OF FIRE hand- 
ing a book to St. John of Patmos, which the latter devours 
(figuratively ) 


One of the scenes depicted in Diirer’s series of wood-cuts : The 
Apocalypse of St. John. 3 
Superb pen and sepia wash drawing, executed after Diirer’s 
wood-cut by a contemporary, most likely Mare-Antonio 
Raimondi, as the treatment of the trees shows that particular 
style of his earlier engravings. 


A highly interesting 16th Century copy, from the collections . 


of Louis C. Borgmeyer (where it was attributed to eubreahe : 


Diirer), Ravaisson-Mollien, and Garnier. 


Height, 1514 inches; width, 113 inches x 


URS GRAF 
Swiss School, about 1485-1535 


A LANSQUENET 


Beautiful chiaroscuro drawing in white on brown eround. 


Swiss and German drawings of this period of such quality are 
of the greatest rarity. 
A drawing of first importance. 
Height, 534 inches; width, 4 inches 
18 


[<~@ & er. ‘azar’ ar f° : ’ \ 


- BALTHASAR JENICHEN 
Nuremberg, 16th Century 


Pp 01 eTRAIT OF ANSELMUS GRATAROLUS (born 1516) 


oa suae 47 mensib. 7 1563. mense novemb. 


~ 


‘CHRISTOPH MURER a2) 
1558-1614 
ceenoue Swiss Glass Painter 


RPHEUS PLAYIN G TO THE ANIMALS 


lagnificent pen and India ink drawing from the Peltzer Col- 
In the catalogue of the latter it was attributed to 
anil Lindtmayer, 1552- -1607, of the same school. This draw- 
_ ing, however, has been pronounced by highest authority as 
a typical of the manner of Murer. 

mene gad very rare specimen. 


Height, 614 inches ; eaitic 3% inches 


PRIMITIVE GERMAN MASTER 
(previously attributed to Master Wilhelm of Cologne) 


i ; 7 A WINGED SAINT, writing in a book, to the left an Angel 
: Both figures surrounded entirely by minute Gothic hand- 
_. - writing. In yery delicate old coloring on brown paper. 
\#” A puzzling drawing; the writer has never seen a similar work 
-_ with outline in writing. The attribution to Master Wilhelm of 
' _ Cologne is hardly possible, it seems to me a work of the Cologne 
| a School of the end of the 15th Century. The delicate features 
| _ of the Angel remind me of Stephan Lochner. A connoisseur 
pd. | | 2% considers it work of the Krankish School and suggests Mathaeus 
uw} Grunewald. 2 
| A highly interesting early drawing. 
__. From the Ravaisson Mollien Collection. 
asl | - 5 Height, 814 inches; width, 614 inches 
19 


ve bove the old inscription: Anselmi Grataroli effigies anno 


HANS LEONHARD SCHAEUFFELEIN (attributed to) 


Nuremberg, 1490-1540 


MAN KILLING A WILD BOAR < 
Superb early 16th Century pen drawing, by one of the fol- 


lowers of Albrecht Direr. On a stone in the lower right a 


monogram H.S. which however is not that of Schaeuffelein. 
Exceedingly rare specimen. From the Collections of Ravaisson’ 


Mollien and Charles Garnier. Height, 8 inches; width, 6 inches 


+ 


TOBIAS STIMMER 
Swiss School, 1539-1587 


THE ANGEL APPEARING TO THE SHEPHERDS 
Masterly chiaroscuro pen drawing on dark greenish ground, 
India ink, with white high-lights. 
From the Grahl Collection. 

Height, 734 inches; width, Th inches 


DESIGN FOR A COAT OF ARMS © 
Supported and held by four angels. Pen drawing, hexagonal, 
with slight touches of red coloring. 
From the Lanna Collection. 
Height, 414 inches; width, 25. inches 


SWISS GLASS PAINTER 
of the 16th Century 


RICH COMPOSITION FOR A GLASS WINDOW 

In the center Christ at the Table of Simon the Pharisee, with 
Mary Magdalen kneeling before him. Below, at the right, a 
kneeling donator in prayer; and a coat of arms. In the upper 
right a biblical scene (4 Reg. Chap. 13). The corresponding 
space at left is blank. 

Pen drawing, only the coat of arms and the halo above Christ’s 
head. in colors. 

Drawings of this school and of such breadth of execution are 
of extreme rarity. 

On paper with the water mark of a bear. 


Height, 1514 inches; width, 1014 inches — 


20 


“4 
wi 
“+ 


JAN WIERIX — 
1548-1615 


Exquisite pen i on vellum, of the greatest minuteness 
- and fineness of execution. 

From the Peltzer Collection. 

| Height, 354 inches; width, 45g inches 


LAMBERT ZUTMAN (also known as Suavius) 
1510-1567 


GROUP OF ABOUT 25 PEOPLE. Supposed to be a study 
for the artist’s engraving: St. Peter and St. Paul healing the 
lame man at the Beautiful Gate. Pencil drawing. 

From the Earl of Pembroke Collection. 

, Height, 1214 inches; width, 8 inches 


SIXTEENTH CENTURY 


2 FRENCH SCHOOL 
8 ( | LOTS 54 to 64 
¥ 


i= EP FRENCH MINIATURIST 
' fr y of about 1500 
| t. 54 THE JUDGMENT OF SOLOMON 
: ‘Illuminated page from a French Livre d’Heures. Four lines 
th (yo “ of Manuscript text with the initial D. below the miniature, 
: both surrounded by rich ornamental scroll border. Manu- 
| 


script text on the reverse. Framed. 
Height, 614 inches; width, 414 inches 


a SALOMON BERNARD, called le petit Bernard 
| Born at Lyons about 1515; died there after 1580 
55 


OLD LEATHER VOLUME with 60 leaves, containing about 

_ . 115 minute drawings representing Scenes of the Old and New 

be | ys Testament and the History of the Apostles, two title-pages with 
21 


\ 


ornamental borders, one sheet. of. Grnavienay eran a an. A 


exquisite minute pen drawing of the Virgin and Child in a 3 
glory, standing on a Crescent, in Diirer’s style. casi 
These magnificent little drawings, from the Ritter von Pfeiffer 3 
Collection, Vienna, came into my hands as the originals for 
Bernard’s famous Bible publication, which PEpEAROG in Lyons 

in 1553. 4 
The German text added on many pages, however, aka tne j 
owner believe that the drawings in this volume are con- ~— 
temporary German copies from the famous French wood-cuts, 
which in their turn borrowed most of their motives from — 
Schongauer and Diirer. 
A highly interesting collection of drawings. 


FRANCOIS CLOUET AND HIS SCHOOL 


‘ 


Francois Clouet was born, probably at Tours, between 1516 and 1520 ; he. } 
died in 1572. He was the foremost and leader of the French School of Por- 4 
traitists of the middle of the 16th Century and was court painter under Henri 7 
II, Francis II and Charles IX. | j 


56 


/ 


{ 
\ 


FRANCOISE DE LENONCOURT, PRINCESSE DE 
GUEMENEE 


- Attributed to Francois Clouet. 


Very fine original drawing in black and ra crayons (the hae 

touched in water-color), in lower border the old inscription : 

‘*M. Damoiselle de Lononcor.’’ - ? 

In a beautiful Renaissance style frame. 
Height, 1114 inches; width, 73, snehan 4 


She was the daughter of Rene de Laval, Seigneur de Bois- - 

dauphin. Married first, Henri, Marquis de Lenoncourt; sec-_- 
ondly, Louis VI de Rohan, Prince de Guéménée. She died in © 
1615. . 
The notes to this and the following 8 items are copied Fromil 
the catalogue of a previous owner, and are attached to the back 
of each frame. 


FRANCOIS DE LORRAINE, SECOND DUC DE GUISE, © 
1519-1563 . 


Attributed to Francois Clouet. 
Magnificent French 16th Century drawing in red and black 


22 


Z 


FRANCOIS CLOUET 


] 


MBER 59 


NU 


[ 


oe 


t 
\ 


_. erayons. In the lower right ie old inscription in ink: ‘‘Mon- 
ey sieur de Guise, son fils aisné,’ 
a a Renaissance style frame. 


Height, 1314 inches ; width, 834 inches 


ie was a son of Claude de Lorraine and of Antoinette de 


Bourbon and head of the Catholic party in opposition to that 
of Condé. He married Anne d’Este. Assassinated by a 


Protestant named Poltrot de Méré. 


-LEONOR D’ORLEANS, DUC DE LONGUEVILLE ET 


D’ESTOUTEVILLE, 1540-7 3. Married Marie de Bourbon 


_, Attributed to Francois Clouet. 
von Superb drawing of the same excellent quality as the preceding 
item. In black and red crayons. 


In lower right the old inscription in the same hand as the other 
item: ‘‘Monsieur le Due de Longueville.”’ 


a In a Renaissance style frame. 


Height, 13 inches; width, 834 PCA 
JACQUES DE SAVOIHE, DUC DE NEMOURS, 1531-1585 


- Attributed to Francois Clouet. 


Of the same quality as the preceding item, and marked in the 
same old pring in the lower left: ‘‘Monsieur Le Duc de 
Nemours.’’ Black and red crayons. 
Ina . Renaissance style frame. 

Height, 13 inches; width, 834 inches 


He was a French General. Married Anne d’Este, widow of 


Francois, Duc de Guise, who was assassinated by Poltrot de 


Méré. 


[Sez ILLUSTRATION ] 


“MARGUERITE DE VALOIS, Called “‘LA REINE MAR- 


GOT,’ 1553-1615 


Attributed to Francois Clouet. 


Delicate drawing in black and red crayons with slight touches 
of water-color. 


In a Renaissance style frame. 
Height, 13 inches; width, 814 inches 


Daughter of Henri II and Catherine de Midice: In 1672 she 
married Henri de Bourbon, King of Navarre, who became later 
Henri IV of France, by whom she was divorced. 

23 


61 


62 


63 


MELCHIOR DES PRES, SIGNEUR DE MONTPEZAT 
Attributed by previous owner to Jean Clouet. (As he died in 
1541 and it shows plainly the same hand as that of the author 
of the previous items,:I think the attribution to Francois, who 


_ worked later, more likely). 


Exquisitely delicate drawing in red and black crayons. 
In a Renaissance style frame. 


Height, 13 inches; width, 9 inches | 


Relation of Brantéme; Master of Forests and Sénéchal of 


Poitou; lieutenant of the King in Guyenne under Henri IJ and — 


his sons; lieutenant in the service of the Due de Guise. 


MADAME CURTON, WIFE OF JACQUES DE CHA- . 


BANNES; Governess to Marguerite de Valois 
Attributed to Jean Clouet. , 
Delicate drawing in black and red crayons, similar in style and 
character to the preceding items. 
In a Renaissance style frame. 


Height, 1234 inches; width, 814 inches 


PORTRAIT OF A GENTLEMAN 


Attributed to Jean Clouet. 
Delicate drawing in black and red chalks of the same style and 
quality as the preceding items. 
In a Renaissance style frame. 
Height, 138 inches; width, 814 inches 


PORTRAIT OF A GENTLEMAN, About 1569 
School of Clouet, artist unknown. 


Exquisite drawing in black and red crayons, slight touches of. 


yellow water-color. 

Of the same unusual and rare quality as the eight preceding 
items. 

In a Renaissance style frame. 


Height, 1234 inches; width, 814 inches 


24 


| 65 


67 


SEVENTEENTH CENTURY 


ITALIAN SCHOOLS 
LOTS 65 to 76 


DOMENICO MARIA CANUTI 
Bologna, 1620-1684 


MARTYRDOM OF A SAINT 
The latter at the foot of a column in a Roman Circus sur- 


; rounded by six lions, an old male Saint and an Angel floating 


in the air, comforting the Martyr. 

Beautiful Bolognese drawing in pen and sepia wash on brown 
paper, high-lights in white of lead, partly turned black. 

From the Count Gelozzi Collection. : 


Height, 814 inches; width, 14 inches 


GIULIO CARPIONI 
Born at Venice, 1611; died Verona, 1674 


THE BODY OF A DROWNED MARTYR 


Supported by six nude figures; an Angel strewing flowers 
above. 

Highly interesting sanguine drawing of the 17th Century. The 
old attribution in ink on the reverse. 

It is a wise practice to retain an old traditional attribution, if 
it does not bear a famous name, as the early owner might have 
had much better evidence for the authorship than we are able 
to produce now. Height, 8 inches; width, 11 inches 


DOMENICO ZAMPIERI, called Domenichino (attributed to) 


1581-1641 


YOUNG MAN AT PRAYER 
Chareoal, heightened with white on blue paper. Framed. 
Height, 834 inches; width, 8 inches 
25 


68 


69 


70 


rfl 


MATTEO DA SAN GIMIGNIANO) 


BIBLICAL OR MYTHOLOGICAL SCENE 


Vigorous and decorative Italian 17th Century pen drawing, ) 
India ink and white high-lights, partly turned black, on - grey 


paper. Composition for a fresco. Framed ’ 


Old attribution, impossible to verify as no Matteo da San ' 
Gimigniano is mentioned in the reference works. 
Height, 1014 inches; width, 914 inches — 


LUCA GIORDANO, called Fa Presto ' 
Naples, 1682-1705 


MYTHOLOGICAL SCENE: MELEAGER AND 
ATALANTA 


Meleager wounded, supported by two women in the center, 
Atalanta with bow rushing from the right; Diana on the left. — 
Above in the clouds Venus in a chariot, in the middle distance 
the boar running away worried by a dog. 
Vivid pen and India ink drawing, oval. 

Height, 1014 inches; width, 71 inches 


ANDREA MALINCONICO 
Circa 1600-1650 


PIETA ) : 


Four Holy Women mourning over the dead body of Christ. 
Chiaroscuro drawing in India ink touched with white, on 
tinted paper. 
From the Earl of Pembroke Collection. 

Height, 14 inches; width, 11 inches 


CARLO MARATTA (or Maratti) 
Roman School, 1625-1713 


SAINTS AND ANGELS ON CLOUDS 


Magnificent charcoal drawing with white high-lights on green- 
ish grey paper. Signed C. Maratte, in lower right. 
Height, 1434 inches; width, 85g inches 
26 


* ‘DONATO MASCAGNI (or Mascagio) called Fra Arsenio 


Born in Florence, 1579; died 1636 


THE JUDGMENT OF KING SOLOMON 


Splendid little pen sketch of great dramatic effect. Framed. 
| Height, 35g inches; width, 334 inches 


PIERFRANCESCO MOLA 
1612-1668 


ST. JOHN THE BAPTIST, PREACHING 


= _ Beautiful composition in pen, sepia and white of lead (which 


es 


has partly turned black). 
mae 47, inches; upper width, 614 rales: lower, 914 inches 


_ ANDREA SACCHI 
1598-1661 


ABRAHAM DISMISSING HAGAR 


Carefully executed sanguine drawing with white high-lights 
Height, 714 inches; width, 714 inches 


-ALESSANDRO TURCHI, called Orbetto Veronese 
1582-1648 


SALOME PRESENTING THE HEAD OF ST. JOHN TO 
HEROD > 
Highly interesting pen and India ink wash drawing. Prob- 
ably a study for the painting ‘‘Salome’’ in Munich mentioned 
in Bryan’s Dictionary. Circular composition. 
Diameter, 914 inches 


a 16 ACADEMIC STUDY OF A NUDE MAN 


1 \ 


Charcoal, heightened with white on blue paper. 
Signed Allessandro Veronese, in ink, in the upper left corner. 
Height, 1534 inches; width, 1014 inches 
27 


SEVENTEENTH CENTURY 


DUTCH AND FLEMISH SCHOOLS 


LOTS 77 to 124 


LUDOLF BACKHUYZEN 
1631-1708 


A 77 NAVAL ENGAGEMENT | 
4) Spirited India ink drawing, with eight sailing vessels in action. i 
In the foreground the crew of one in a rowboat. ; 


Very clever seascape, somewhat suggestive of Willem van dol 
Velde. Framed. Height, 734 inches; width, 1234 inches | 


* 
a 


CORNELIS BEGA 
Harlem, 1620-1664 


78 PORTRAIT OF CORNELISZ VAN HARLEM 


(| / Bust in sanguine, silhouetted and mounted on green ground, 
showing in the upper right corner the signature: Korns. 
Begga f. 


Remarkable drawing, representing a very early work of Bega, 

who is known to have been the son of an illegitimate daughter 

of Corn. Corneliszen. Height, 4 inches; width, 314 inches _ 
, | 


ABRAHAM BLOEMAERT 
1564-1658 


/ 79 BACCHANALIAN SCENE | 
\o Silenus supported by two Satyrs, in the foreground to the left 
a group of female Bacchantes, children and a satyr. 
Highly interesting Flemish drawing, in pen and black chalk 
strongly suggestive of the style of Jacob Jordaens. c 
Signed A. Bloemart in lower right. 
Height, 714 inches; width, 8 inches 
28 


JOHANNES BRONKHORST 
1648-1727 


A SHEET WITH 24 PEN AND WATER-COLOR STUDIES 

OF INSECTS 
Clever drawings. From the Armand Sigwalt Collection, Paris. 
Height, 314 inches; width, 714 inches 


AELBERT CUYP (attributed to) 
| 1605-1691 

COW RESTING 
Charcoal sketch with white high-lights on blue paper. 
This drawing came into my hands under the above attribution. 
It is a highly clever Dutch 17th Century drawing and it is 
- not at all impossible that Cuyp was the author. 
Height, 434 inches; width, 734 inches 


AERT DE GELDER 
School of Rembrandt, 1645-1727 


JOSEPH INQUIRING FOR HIS BRETHREN 
Spirited pen and sepia sketch characteristic of the school of 
Rembrandt. Apparently one of a series of Bible illustrations 
by the same hand, all showing numbers and reference to the 
Bible text in the same handwriting. The writer has en- 
countered a similar drawing with identical handwriting in the 
Albertina Collection, another was in the Peltzer sale. 

Height, 8 inches; width, 124% inches 


THE GOOD SAMARITAN, MANNOAH HIS WIFE AND 
THE ANGEL 
Another drawing from the above-mentioned series, with num- 
ber and reference to the Bible text in the same handwriting. 
Highly interesting pair of drawings. 
Height, 8 inches; width, 1214 inches 
29 


co 


84 


85 


-HENDRICK GOLTZIUS 
1558-1616 


THE TRIUMPH OF GALATEA 
The original drawing for his engraving after Raphadl? s Point | 
ing in the Villa Farnesina, showing the same inscription as” 
the engraving: six lines in Latin verse and the note: Opus hoes 
depictum est suis coloribus Roma ad parietem per Raphaelem 7 
d’Urbin; in palatio Augustini Ghigi, et ibidem ab H. Goltzio 
(the initials forming Goltzius’ monogram) adnotatum, et 
deinde eri in sculptum. Anno 1592. 
There is no question in my mind that this is not a ‘drawing G 
from the engraving but Goltzius’ original design. It shows 
his peculiar precise rounded line, the same as his burin stroke. — 
Highly interesting pen drawing in red _ the sea, a BR in j 
India ink brush work. Framed. | 

Height, 2234 inches; widen, 17 rach P| 


JACOB JORDAENS 
15938-1678 


CHRIST WITH THE DISCIPLES AT EMAUS | , 
Christ seated at a richly laden table between the Disciples, ~ 
who seem to be talking animatedly. Behind, a woman brings) s 
ing a dish; to the left, a man pouring wine. q 
A metres color sketch in Jordaens’ most characteristic style. — 
An unusually fine example. : 
From the R. Peltzer Collection. . 3 

Height, 10 inches; width, 111% inches y 


[SEE ILLUSTRATION ] 


PHILIP DE KONINCK 
1619-1689 
One of the foremost pupils of Rembrandt 


FULL-LENGTH FIGURE OF AN OLD MAN. Pen and — 
India ink % 
Signed Ph. Koninck on the reverse. 
Superb drawing, very closely related in style to Rembrandt. ~ 
Without the old signature, this drawing would possibly have J 
been known as a Rembrandt. Framed. : 
Height, 6 inches; width, 334 inches — 
30 ' 


Riese 
—_. — Soll 


JACOB JORDAENS 
CHRIST WITH THE DISCIPLES AT EMAUS 


a JANI LIEVENS 
ie ise i | Sohooi of Rembrandt, AEOT-166S 


ry y pigeon house standing by the edge of a wood. 


ng 


ore 


5 If it were not for a certain lack of life in the 


ay view shaved by Mr. Meder, “our best authority on 
t. en 832 inches ; width, 714 inches 


"gow al 


Re ie a ae JEAN LINGELBACH 
fe Born in Frankfort 1625, died in Amsterdam 1687 


‘HREE MEN ON HORSEBACK 


“ruined. ¢ eastle_ 
| India ink drawing. From the Peltzer Collection. 


iving a Parink from a landlord at the door of an inn. 
lisite charcoal dra wing with slight touches of white high- 
on ‘blue paper. Framed. 

, Height 414 inches; width, 314 ‘thes 


GODEFROY MAES 
Born in Antwerp 1649, died 1710 


ed lor. On grey. paper. 


o Signed in lower left. : : 
i - _Height, 5 inches; width, 634 inches 


JACOB MATHAM 
Harlem, 1551-1631 
Pupil and stepson of Hendrick Goltzius 
91 ‘MYTHOLOGICAL SCENE 


In the foreground to the left, under an open tent, Venas, 
%® nude, embraced by a god; towards the rear, five gods seated 


31 


ypical pen drawing, in a style very close to Rem- 


_ Height, 414, inches; width, 2% inches 


around a table, a cupid in front; behind on a hill two goddesses — 
playing the flute and below a dancing couple. To the right © 


40 


92 


93 


94 


in the foreground a greyhound seated in front of a fountain. — 
Pen drawing on Vellum, highly finished in the manner of an ~ 
engraver. The signature ‘‘Jac. Matham fecit’’ on the base of — 
the fountain. This drawing seems to be the design for the — 
engraving described by Bartsch under No. 21, which, however, — 
is in oval shape. Signed drawings by Jac. Matham are of the © 


greatest rarity. Height, 754 inches; width, 115¢ inches 


JAN MIENSE MOLENAER 
GROUP OF DRINKING PEASANTS 


Seated around a table; to the left one is being dragged out by 


his coat, by his wife and a small child. 


Broad and spirited drawing, in Molenaer’s characteristic style ; 


black and white chalks on green paper. Framed. 
Height, 105g inches; width, 165¢ inches 


ANTHONY PALAMEDESZ (Stevaerts) 
Born in London 1604, died in Delft 1680 
SOCIETY SCENE 


A party of about 18 people of the rich class of Holland. 
A superb drawing in dark red chalk. Probably unique in 


quality of technique; the writer has never before encountered - 
a drawing of elegant Dutch life in a style so exceedingly 


simple and yet so full of vitality. 


Height, 414 inches; width, 914 inches * 


CRISPIN DE PASSE 
1540-1629 


THE ASCENSION OF THE VIRGIN 


Pen and India ink drawing, probably the design for an en- © 


graved Bible illustration. 
From the Lanna Collection. 
Height, 34% inches; width, 234 inches 
32 


Peo 


WOMAN PLAYING THE LUTE 
Design for an illustration of the Dutch Legend: Genevieve 
de Brabant. : | 
Exquisite pen and sepia drawing. From the Marquis de Lagoy 
(Fagan 332) and William Mayor (Fagan 601) Collection. 
Framed. Circular, Diameter, 414 inches 


REMBRANDT VAN RHYN 
1606-1669 


RUINS OF AN OLD DOORWAY 
To the left a woman seated on a bench, trees on both sides. 
Superb pen drawing, from the HE. Utterson and Peoli Collec- 
tions. This magnificent Rembrandt drawing was acquired by 
me in New York at auction, under the correct attribution, for 
a very small amount, those present apparently not having 
enough confidence in the attribution. It has never been offered 
by me, as I intended to hold it until peace would permit me 
to show it to the great Dutch authorities, Dr. Bredius and 
Hofstede de Groot, for verification. I include it in this sale, 
however, in order to have Rembrandt’s name worthily repre- 
sented. I consider this a drawing of very great value and I 
wish to state here for the benefit of the prospective purchaser, 
that my opinion is not only backed by my experience but also . 
by a very high wager with a sceptical friend pending the 
verdict of the authorities above referred to. 

Height, 7 inches; width, 12 inches 


[SEE. FRONTISPIECE | 


SCHOOL OF REMBRANDT 


HOLY FAMILY 
Interesting drawing, in Rembrandt’s typical manner. [| or- 
merly attributed to Rembrandt (see old ink attribution on the 


reverse). 
From the R. Peltzer Collection. 
Height and width, 514 inches 


33 


oo 


100 


101 


MAN ON HIS KNEES BEFORE A WOMAN 

On the reverse another sketch of the same subject. 

Interesting school drawing, formerly attributed to Rembrandt, 

but more likely by a close follower or contemporary imitator. 
Height, 5 inches; width, 314 inches ~ 


ROELAND ROGHMAN 
1597-1685 
Friend of Rembrandt 


LANDSCAPE 


In the distance the large tower of a church. 

Interesting pen and India ink drawing, previously attributed 

to Rembrandt. On the reverse a pen drawing of another land- 

scape, with pedestrians walking on a road in the foreground. 
Height, 3% inches; width, 614 inches 


PETER PAUL RUBENS (attributed to) 
1577-1640 


FULL-LENGTH FIGURE OF A NOBLEMAN 
Very clever pencil and India ink wash drawing, signed in 
lower right P.P.R. fecit. With the collector’s mark. Fagan 
No. 381. 
When acquiring this interesting drawing I did not pay for 
the big name and quote the old attribution here with reserve. 
I have had no opportunity to verify the attribution, which, 
however, is by no means so very improbable. 
It is a Flemish drawing of the period, sufficiently good to 
own, even without the big name. 

Height, 614 inches, width; 314 inches 


SCHOOL OF RUBENS 


TWO ANGELS APPEARING TO AN ASSEMBLY OF 
NOBLEMEN AND CLERICALS 
Beautiful drawing in black and red chalks. 
From the R. Peltzer Collection. ‘ 
Height, 834 inches; width, 1214 inches — 
34 


PETER ANDRIES RYSBRAECK 
1655-1729 


Pupil of Francois Millet and Poussin 


WIDE LANDSCAPE 

With mountains and river, in the middle distance a village ; 
in the foreground two figures by a waterfall. 

Superb and decorative water-color drawing, from the A. G. 
de Visser, Amsterdam, 1881, and M. von Lanna Collection. 


Height, 634 inches; width, 914 inches 


HERMANN SAFTLEVEN (manner of) 
1609-1685 


LANDSCAPE WITH OLD CITY WALL, MOAT AND 
DRAWBRIDGE 7 

Numerous people seated and walking near the walls and 
across the bridge. On the slope in the foreground two goats, 
on the water a rowboat. 

A lovely Dutch landscape drawing, superb in detail and per- 
spective. Pen and sepia. ; 
Height, 444 inches; width, 6 inches 


GODFRIED SCHALKEN 
1643-1706 


THE ARTIST’S SELF-PORTRAIT 
Decorative sanguine drawing from the F. A. van Scheltema 
Collection. In oval, height 8 inches; width, 7 inches 


MARY MAGDALEN PENITENT 
Sanguine, pen and India ink drawing, very strong in the 
effect of light, typical of Schalken’s paintings. 
From the Peltzer Collection. 
Height, 1014 inches; width, 101g inches 
35 


JOHANN CHRISTIANUS SCHOTEL Se 
1787-1838 5 
Distinguished Dutch Marine painter. 
| 106 MARINE 
| ) With many sailing vessels and row-boats. 
[ 2; Charcoal and pencil. Signed J.C.S. in lower right. 
From the Charles Gase Collection. : 
Height, 734 inches; width, 1114 inches 


BARTHOLOMAEUS SPRANGER 
1546-1627 


107 HOLY FAMILY 
With two angels, one singing and one playing the Iute. 
/ Pen and India ink drawing. 
| | From the Earl of Pembroke Collection. 
Height, 13 inches; width, 914 inches 


i 


BARTHOLOMAEUS SPRANGER (attributed to) 


108 BATTLE SCENE ; 
Nude man defending himself against seven onrushing horse- 
od men. Three fallen fighters on the ground. 
Tremendously powerful pen and sepia wash drawing of the 
pre-Rubens period. Height, 1614 inches; width, 2244 inches — 


ANTHONY VAN DYCK (attributed to) 
1599-1641 


109 THE DESCENT FROM THE CROSS 
This highly interesting and spirited drawing in charcoal, pen 
/ and bistre came into my hands in a collection under the above 
30 old attribution. Having seen numerous vivid sketches by the _ 
master in this same style, I believe in the attribution. 
Opinions of connoisseurs, however, vary in this case. Dr. 
Sirén was inclined to call it a Venetian drawing of the 
Tintoretto style. In any case, it is a sufficiently interesting 
drawing even without a big name. 
Height, 7 inches; width, 514 inches 
36 


112 


PIETA 


Two holy women mourning over the dead body of Christ. 
Pen and India ink wash. A work undoubtedly by the same 
hand as the preceding item. The drawing which comes from 
an entirely different source had the same attribution before 
it came into my possession. 

Height, 814 inches; width, 7 inches 


CHILD (OR ANGEL) HOLDING A BOOK AND LILIES 
Pen and India ink wash drawing, from the Pierre Jean 
Mariette, Count Moriz von Fries and Count Poggi Collections. 
In spite of the wonderful pedigree I do not feel justified in 
endorsing the traditional attribution of this pretty drawing 
without reserve. 
It is a nice Flemish drawing of the period, but I cannot see , 
the hand of van Dyck in it. 

Height, 934 inches; width, 614 inches 


GERBRAND VAN DEN EECKHOUT 
| 1621-1674 
Pupil of Rembrandt from 1635-40 


YOUNG CAVALIER, SEATED 

Superb drawing in black chalk heightened with white on 
blue paper. Signed: Heckhout, in ink in the upper right 
corner. \ ; 
A drawing of rare artistic quality, of the closer Rembrandt 
school. Framed. Height, 814 inches; width, 654 inches 


JAN VAN GOYEN 
1596-1656 

LANDSCAPE 

Wide road bordered by high trees; from the distance a wagon 
is seen approaching. 

Pencil drawing of magnificent perspective in van Goyen’s 
characteristic style. Signed with the monogram V.G. in the 
lower right corner. Height, 61% inches; width, 10% inches 


YOUNG GIRL, STANDING 


Full length, in three-quarter profile. 

Exquisite charcoal drawing from the van Scheltema Collec- 

tion, Amsterdam. Height, 5 inches; width, 314 inches 
37 


115 


116 


cB Ws 


118 


WILLEM VAN MIERIS 
1662-1747 


ALLEGORY OF SPRING 


A young female genius floating in the air with a garland of 
flowers at play with two cupids holding a flower basket. — 


Exceedingly graceful and delicate sanguine drawing in the | 


younger Mieris’ characteristic elegant style. Circular com- 
position. Framed. Diameter, 734 inches 


YOUNG WOMAN crowning another with a wreath of 


flowers, in the rear a third playing the tambourine 
Drawing in black chalk, with white high-lights on grey paper. 
This charming drawing has also been attributed to Goltzius, 


whose style it closely resembles. Since, however, the exact- — 


ness and flow of line are also peculiar to Mieris, the old 
attribution is here retained. 
From the Peltzer Collection. 


Height, 5% inches; width, 414 inches 


ADRIAN VAN OSTADE 
1610-1685 


PEASANT PUSHING A LOADED SLEIGH 


Magnificent small sepia drawing, from the Selliére, Engert 
and A. von Lanna Collection. 
Height, 17% inches; width, 314 inches 


[SEE REPRODUCTION ON COVER] | 


INTERIOR OF A GRANGE, 


A woman kneeling in front of a barrel, from which she seems | 


to draw the contents; a man standing behind her. 

Beautiful and characteristic drawing in black and white 
chalk on blue paper. From the F. A. van Scheltema Collec- 
tion, Amsterdam. Framed. ~ 


Height, 8144 inches; width, 7144 inches" 


38 


; 


| 
: 


e8 


ta alba POSTERS IN 


JACOB VAN RUYSDAEL 
_ 1628-1682 


119 OLD MILL 


With large water wheel; on a hill to the right two peasants. 
Among the reproductions of drawings in The Rijksmuseum, 
Amsterdam, I found another drawing by Ruysdael showing 
this same mill but from a different angle, drawn with the 


same bold and characteristic flow of line. 


Height, 4 inches; width, 7% inches 
[SEE FRONTISPIECE | 


ESAIAS VAN DE VELDE 
1590-1630 
TWO MEN IN CONVERSATION 
To the right a dog. 
Exquisite little pencil drawing. Framed. 
| 21% inches wide and high 


CORNELIS VISSCHER 
1618-1658 


HEAD OF AN OLD WOMAN 
In profile, turned to the right. 


Superb charcoal drawing on Vellum, of the greatest fineness 


of execution. Signed C. Visscher. 
From the Peltzer Collection. 
Height, 454 inches; width, 43 inches 


MARTEN DE VOS 
Antwerp, 1531-1603 


THE FALL OF THE GIANTS 
Masterly composition of many figures on minute space. 
Pen and India ink drawing, signed M. de Vos in lower right. 
From the R. Peltzer Collection. 
Height, 534 inches; width, 334 inches 
39 


123 


124 


Sa Re ge 


ST. JEROME, IN THE DESERT, IN PRAYER 
Spirited pen and sepia wash drawing. 
From the same collection as the preceding item. 
Height, 754 inches; width, 514 inches 
$ 


PHILIP WOUWERMAN 
1614-1670 


CAVALIER ON HORSEBACK 


Exquisite charcoal drawing, in Wouwerman’s best style. 
Height, 334 inches; width, 2144 inches — 


SEVENTEENTH CENTURY 


FRENCH SCHOOL 
LOTS 125 to 138 


ROBERT BOISSARD 
about 1600 (born 1570) 


NYMPHS SURPRISED bY SATYRS i) 
Graceful circular composition, drawn in exquisite flow of the 
pen. From the R. Peltzer Collection. Framed. : 


Diameter, 6 inches 


STEFANO DELLA BELLA 
Florence, 1610-1664 
Worked in Paris, contemporary of Callot 


CHILD AT PLAY WITH DOGS i 


Clever little drawing in pen and India ink wash. Framed. 
Height, 314 inches; width, 414 inches 
40 


DANIEL DUMONSTIER 
1574-1646 


PORTRAIT OF AN OLD MAN 


Black and red chalks, the flesh tints touched in water-color. 
This magnificent drawing in the Bardini Collection given was 
to the Italian School. After some research and careful com- 
parison with the reproductions of Dumonstier’s work, there 
‘remains not the slightest doubt that this is a typical repre- 
sentative drawing from the hand of the famous French 
Portraitist. 
A superb example, the paper somewhat worm-eaten in spots. 
Height, 934 inches; width, 814 inches 


FRENCH SCHOOL 
about 1600 
Possibly Dumonstier or Lagneau 


HEAD OF A MAN 

Strong drawing in red and black chalks. 

Also from the Bardini Collection, where it was given to the 
Italian School. It is undoubtedly a work of the same school 
and period as the preceding item, but not quite sufficiently 
characteristic of the hand of Dumonstier, to give it to him 
without reserve. — Height, 9 inches; width, 7 inches 


FRENCH SCHOOL 
(Possibly Robert Nanteutl, 1623-1678) 


HEAD OF AN OLD MAN 

Superb drawing in red and black chalks. 

The features of the portraitee bear a strong resemblance to 

those on Nanteuil’s famous portrait engraving of Francois 

de la Motte Le Vayer, R. D. 148. It is undoubtedly a work 

of the period and an engraver’s drawing, and the attribution 

to Nanteuil seems quite plausible to the writer. Oval. 
Height, 734 inches; width, 614 inches 


HEAD OF A MIDDLE-AGED MAN 
Excellent drawing by the same hand and with the same 
characteristic qualities as the preceding item. 
Red and black chalks. Oval. 
Height, 8 inches; width, 614 inches 
41 


CHARLES LEBRUN 
; 1619-1690 © 3 


HEAD OF A MALE SAINT 
Beautiful drawing in red and black chalks. q 
Height, 1154 inches; width, 814 inches. 4 


HEAD OF A FEMALE SAINT (MATER DOLOROSA) © ‘ 
Magnificent design in red and black chalks, heightened with | i 
white. An old French mount. t 

Height, 1414 inches; width, 1014 inches f 


CLAUDE GELLEE, called Le Lorrain ; 
1600-1682 \ 
LANDSCAPE | 
In the center a ruined castle, in the foreground a oe 
with his flock. 
Pen and sepia, the castle and a beautifully touched up in, 
water-color. One of the most beautiful Claude drawings the 
writer has ever encountered, the flock of goats in the fore- 
ground strongly suggestive in style of Claude’s famous 
etching: ‘‘Le Bouvier.’’ ) 
From the Duke of Rutland Collection. - | 
Height, 534 inches; width, 7% inches 


[Szzx ILLUSTRATION ] 


WIDE LANDSCAPE , 


In the foreground a hill with three trees, in the center cant 
or town on a hill, in the distance the sea. . 
Exquisite and characteristic pen and sepia drawing masterly 
in perspective. Dated 1678. The date preceded by a word 
hard to decipher, the nearest I can make out is: Jan Lanee; 
it may possibly mean January of the year ! 
On the reverse a small pen drawing, showing four women 
washing in a well at the foot of a hill crowned by ruins. In 
the lower right the inscription: ‘‘Civita Lavinia.’’ é 

Height, 414, inches; width, 614 inches” 

[Sze ILLUSTRATION ] 
42 


TWO LANDSCAPES BY CLAUDE LORRAIN 


[NumBERS 133 anv 134] 


A 


— te 
gg 
¥ i) 
i ‘P 


We |G sige 9 ey a 


Se 


as 


a 


“137 


85 THE TEMPLE OF NEPTUNE, ROME 
_ The old temple by the Tiber, cruelly used as a human habita- 


tion, provided with new roof and chimney, seen from the side, 
to the left two small houses, the figure of a man in the fore- 


— ground. 


Superb drawing in red chalk and India ink wash. 
Height, 534 inches; width, 9 inches 


CLAUDE LORRAIN (attributed to) 


RUINS, SUGGESTIVE OF THE PALATINE, ROME 


Two male figures in the foreground. 
On the reverse, Christ or a Saint, standing on a rock. Pen 
and sepia wash drawings. 
While I could possibly accept the attribution to Claude for 
the very clever drawing in the front of the sheet, the one on 
the reverse undoubtedly betrays to me a weaker hand. I 
feel inclined to credit Bartholomeus Breenbergh, the Dutch 
artist, born about 1600, who worked mostly in Rome and also 
etched scenes of the ruins of classical Rome, with the author- 
ship of these drawings. 

Height, 814 inches; width, 914 inches 


| ee GASPARD DUGHET, commonly called: Gaspard Poussin 


Rome, 1613-1675 


CLASSICAL LANDSCAPE 

With seven people in the foreground by the border of a lake. 
Beautiful pen and sepia drawing, in Gaspard Poussin’s 
characteristic style. Height, 5 inches; width, 10 inches 


ITALIAN LANDSCAPE 
With house and Roman temple in the middle-distance, in the 
foreground a man, standing in a boat and rowing. Signed in 


_ the lower left with the initials: P.G. 


Highly spirited pen and India ink drawing, with touches of 
sanguine. Height, 6 inches; width, 614 inches 
43 


139 


140 


141 


142 


SEVENTEENTH CENTURY 


SPANISH, ENGLISH AND GERMAN SCHOOLS ~~ dt 
LOTS 139 to 145 7 | F 


ALONZO CANO 
1601-1665 


ST. CECILIA 
Spirited sanguine sketch, signed Alonzo Cano in lower lefti} 
corner. From the Charles Gase Collection. 

Height, 414; width, 434 inches}. 


JUSEPE DE RIBERA (called Lo Spagnoletto) 
Born in Spain 1588; died in Naples 1656 ; 5 


TWO BEGGARS 

Superb pen drawing from the collection of Earl Spencer 
(1758-1834) 

A masterly drawing which one feels inclined to give both to 
Callot and to Rembrandt. The grotesque character, however, | 
is entirely Spanish and makes one think of the much later } 
Goya. Height, 914 inches; width, 65 inches } 


SIR PETER LELY 
1618-1680 
Flemish painter, worked mostly in England 


PORTRAIT OF THE DUKE OF MONMOUTH 


Beautiful drawing in black chalk; the flesh tints in sanguine. 
Height, 714 inches; width, 534 inches 


ISAAC OLIVER 
Circa 1560-1617 
English Miniaturist 
FIVE CHARMING SKETCHES in pen and sepia of fancy’ 
subjects on one sheet; they show much grace and charm, two 
being highly finished (Pembroke Catalogue description). 
From the Earl of Pembroke Collection. 
44 


iq 

1 Reproduced in Arthur §S. Strong’s work, Vol. II, No. 66. 
Signed Isa. Oliver, on the mount. 

a Height 914 inches; width, 8 inches; popna the border 
‘ on the mount. 


é WILLIAM ROGERS 
" English engraver, born in London about 1645 


143 THE DUCHESS OF MARLBOROUGH 

“Sanguine, signed in lower left. 

iS Highly interesting early English engraver’s drawing. 

Height, 854 inches; width, 614 inches 4 


ADAM ELSHEIMER (Style of) 
1578-1620 


us JACOB WRESTLING WITH THE ANGEL 

r In the foreground of a wide landscape. In the center a / 

*( caravan with camels and cattle crossing a bridge. I 

"4 Exquisite miniature painting on vellum in most brilliant 

-- vivid coloring. From the Peltzer Collection. Framed. 
Height, 234 inches; width, 434 inches 


WENZEL HOLLAR ‘ 
Born in Prague 1607 ; died in London 1677 


145 VIEW OF A DUTCH TOWN WITH CASTLE we 

Fe Ne To the left and in the foreground a wide river, with two 

50 sailing vessels. 

| Signed above: Orsvig(?) not clearly decipherable and dated | 

| 1630. 

Magnificent wide view in Hollar’s characteristic delicate style, 

in pen and pencil. From the collection of Philip Lankrink, 

page to King Charles I, and a contemporary of the artist. 
Height, 514 inches; width, 714 inches 

45 


0 146 


| 148 
|e 


as / 


FIGHTEENTH CENTURY 


FRENCH SCHOOL 
LOTS 146 to 164 


GABRIEL BALLIN 


HEAD OF A MAN 
Black crayon drawing, probably for an engraving. Graceful 
French 18th Century work. Framed. 

Height, 514 inches; width, 3 inches | 


LANDSCAPE 4 


Rocks and high trees in the center, water to the left and 

mountains in the distance. 

Decorative French drawing in red crayon. Framed. 
Height, 444 inches; width, 7 inches 


MILL AND WATER-FALL 

Showing the Title: ‘‘ Cascade et moulin du Chateau de Tencin, 
dans la Dauphine, dep. de 1’Isere, a 5 lieues de Grenoble.’’ 
Typical French 18th Century drawing in red and black 
crayons. Framed. Height, 434 inches; width, 734 inches 


MARIE JEANNE BERNARD 
1740-1809 
Daenter of Jean Joseph Bernard, called Bernard de Paris, 
famous calligrapher. 


LOUIS XVI AND MARIE ANTOINETTE 

Pen, wash and water-color drawing of the two heads in 
profile, within oval border of rich penmanship, the Tea 
probably done by the father, the famous ‘‘maitre d’ ecriture.’ 
Signed: Fait 4 la plume par Mlle. Bernard. 

Mademoiselle Bernard is known to have made some repetitions 
of her father’s portraits of the King and the Queen, one of 
which is in the Museum at Luneville. 


_ Highly finished and decorative drawing, engraved. 


Height, 16 inches; width, 1134 inches 
46 


153 


154 


FRANCOIS BOUCHER (attributed to) 
1704-1770 


HEAD OF A TURK 


Vigorous sanguine drawing in the typical manner of the 
French 18th Century drawings. Boucher made various draw- 
ings of similar subjects, and it is not at all impossible that 
this is not only a work of his studio but also by his own hand. 


_ However, it lacks the charm and grace which makes the 


possession of a Boucher drawing so attractive. Framed. 
Height, 834 inches; width, 614 inches 


SCHOOL OF BOUCHER 


HEAD OF A YOUNG GIRL 


Typical French 18th Century drawing in red and _ black 
chalks. Height, 1144 inches; width, 1114 inches 


APOLLO IN HIS CHARIOT 
Spirited French 18th Century drawing, in black chalk on 
grey paper, traces of white high-lights. 

Height, 1014 inches; width, 1614 inches 


JOSEPH AND POTIPHAR’S WIFE 


Spirited drawing in black and white chalk on grey paper of 
the period, but not delicate enough to be by Boucher, to whom 
it was attributed when it came into my possession. 


Height, 13 inches; width, 10 inches 


JEAN HONORE FRAGNARD 
1732-1806 


CLASSICAL SUBJECT 
Man and woman enthroned, to the right a boy approaching. 
Excellent drawing in red and black chalks, touched with 
white, of the early classical period of the artist. Framed. 
Height, 74% inches ; width, 734 inches 
47 


Sr. 


155 


156 


THE ANGEL OF VICTORY ny Res 
Black and red chalks, heightened with white, on brown paper 
Of the same style and period as the preceding item. Framed, 

Height, 714 inches; width, 5 inches 
These drawings were acquired with four others by the same 
hand from a private collector to whom they were sold as 
Rubens drawings. I called them French 18th Century work 
immediately. When I returned to New York I sold two of © 
the lot to a dealer who soon established them as early works 
by Fragonard, an attribution confirmed recently by very 
good authority. : 


FRENCH SCHOOL | 
(attributed to Fragonard by the previous owner) 
18th Century 


HEAD OF CUPID 
Beautiful and spirited charcoal drawing on grey Raper, 
Most likely a work of Boucher’s studio. Framed. ¥ 

Height, 1014 inches; width, 814 inches © 


FRENCH SCHOOL. 
18th Century 


HEAD OF A YOUNG WOMAN | 

Black crayon, delicately touched in water-color. Exquisite © 

little circular drawing, framed in miniature style. a 
Diameter, 134 inches 


PORTRAIT OF A YOUNG WOMAN | 
Miniature, graceful and charming in color, somewhat rubbed. ~ 
Oval. Framed. Height, 13g inches; width, 1 inch © 


PORTRAIT OF KING CHARLES IV OF SPAIN 


Miniature. Superb 18th Century miniature. The features | 
of the portraitee are familiar from Goya’s painting. Oval. | 
Framed. Height, 4 inches; width, 3 inches © 

48 % 


fi 


eh 


PORTAIL 


ANDRE 


[NUMBER 164] 


“Eg Ciesla 
ee oe 
a 


\ 


a Ra aeeecl. a = 
bP t . % a ‘ b . 


163 


“S 


ANTOINE JEAN, BARON GROS 
1771-1835 


THE ASSUMPTION OF THE VIRGIN (or more likely 


Transfiguration of Jeanne d’Arec, on account of sword and 
palm of victory held by the Angels) 
Charcoal with white high-lights on light brown paper. 
From the Charles Gase and Peoli Collections. 

Height, 914 inches; width, 514 inches 


JEAN BAPTISTE LANGLOIS 


- ORNAMENTAL PENMANSHIP 


Small old volume, in 18th Century leather binding, contain- 
ing 42 exquisite studies in ornamental penmanship, in the 
style of the art practiced by Bernard de Paris. Signed on 
the fly-leaf, J. B. Langlois and dated 1755. 

These interesting pen drawings represent ornaments on flower- 
scrolls, some have birds added and there is one excellent piece 
of virtuosity from the writer’s pen in the design of a parrot. 
An exceedingly interesting book of drawings, from the Ritter 
von Pfeiffer Collection, Vienna. 


NICOLAS DE LARGILLIERE (attributed to) 
1656-1746 
LADY, SEATED 
Her arm resting on a pillow; looking into a small mirror. 
Beautiful sanguine drawing on brown paper, with white high- 
lights. Height, 1014 inches; width, 85 inches 


CHARLES PARROCEL 
1688-1752 


SHEET WITH VARIOUS SKETCHES OF FIGHTING 
MEN 

To the left full-length figure of a man shooting, in the upper 

right a repetition of head and arms of the same. Below, a 

fallen soldier and two studies of feet. 

Brilliantly vivid sanguine sketches. 

Height, 714 inches; upper width, 814 inches; lower, 10 inches 


49 


ANDRE PORTAIL 
Famous French Portraitist and Designer, died 1760 


YOUNG WOMAN 
Seated in a chair, in full figure. 


Drawing in red and black crayons of the most exquisite and | 


characteristic quality; typical representative of the graceful 
and charming draftsmanship of the period. Framed. 
From the E. Desperet ‘Collection, 1865. 


Height, 83g inches; width, 6 inches | 


[See ILLUSTRATION ] 


EIGHTEENTH CENTURY 


DUTCH, GERMAN AND ITALIAN SCHOOLS ~ 


LOTS 165 to 170 


ABRAHAM DELFOS 
Leyden, 1731-1820 


HEAD OF A YOUNG WOMAN 


Carefully executed design in red and black chalks, on vellum. | 


Height, 8% inches; width, 7 inches 


FRANCESCO GUARDI 
Venice, 1712-1798 


SERIES OF EIGHT PEN AND SEPIA SKETCHES — 


(Two of them on one sheet) representing: 


1 and 2. Sheet with five small sketches: on the front 2 i 
couples, in rich 18th Century costumes. On the reverse: _ 
on the left, another couple similar to the sketches in front; © 


in the center boy with a flock of geese, and to the right a — 
cavalier, standing. Height, 3 inches; width, 734 inches [3 


3. Sheet with 12 figure sketches, all in various attitudes | 
and vivid motion. Height, 4 inches; width, 11 inches © 


4 and 5. Two sketches on one mount, both pen and India 
ink on blue paper. The upper showing a group of ten Vene- ) 
tian people, moving away from the spectator, in open space, | 


signed Heo. Guardi in lower left. 


Height, 314 inches; width, 75¢ inches 


[SEE ILLUSTRATION ] 
50 


files rene 


UMBER 1 " 


1 66 ae 


rr 


=I 


xB 


‘pales: 


_ 
ep e 
<=} 


he LT ae ae im RL a ws a a 


The lower one showing groups of 17 adults, five children and 
a dog, in the same manner as the preceding item. 
Height, 354 inches; width, 884 inches 
[SEE ILLUSTRATION | 
6. Group of about 50 people, in a frieze-like composition; 
most wonderfully vivid massing of many figures on a small 
space. Height, 3 inches; width, 1114 inches 


7. Similar composition of a large group of people, more pro- 
nounced in the India ink, less in the pen work, in much 
wilder motion than the preceding item. 

: ; Height 27% x 1114 inches 
No more wonderful drawings have passed through the hands 
of the writer than these two marvelous compositions. 


8. Venetian palace court-yard, with men and children. 

Charming design in the more ordinary style of Guardi draw- 
ings. From the Collection of General H. E. Fox, Ambassador 
at Naples, 1806. Height, 634 inches; width, 7% inches 


Owing to the great importance and value of this remarkable 
collection of Guardi drawings I do not wish to see them-split 
up and prefer to offer them as one single lot, hoping that they 
will always remain together and find their way into a very 
important collection. Instead, of further commenting on the 
unusual quality of this lot myself, I prefer to print here a 
letter, written to me about them by Dr. Oswald Sirén: 

‘‘Tt is indeed with unusual interest and esthetic enjoyment 
that I studied the seven drawings by Francesco Guardi that 
you showed me the other day. They are not only perfectly 
characteristic of this great draughtsman, they show him at 
his very best. The two sketches on blue paper representing 
walking figures seen from behind are most remarkable studies 
of movement—one actually sees the small figures disappearing 
toward the background—and the two long horizontal draw- 
ings on white paper are the most living impressions of light 
and shade. They can well be compared to Rembrandt’s most 
impressionistic sketches, they vibrate with life and are filled 
with an atmosphere that envelops the figures and makes them 
all parts of one pictorial vision. The other drawings in the 
eollection of Guardis have merits of the same kind. Alto- 
gether they represent the master from different sides and 
give a good idea of his greatest qualities: the wonderful 
interpretation of light and atmosphere as a pictorial medium 
and the brilliant and life-catching technic.”’ 

51 


evye SL 167 
\| 


168 
ho’ 
i169 
4 \ 
V auroras rd # 


GEORGE PHILIP RUGENDAS 
1666-1742 ; 


GROUP OF SEVEN RIDERS WITH EIGHT HORSES — 
Vivid pen and India ink drawing in Rugendas’ well-known ~ 
style. Framed. . Height, 884 inches; width, 10 inches — 


AART SCHOUMAN | 
Born at Dordrecht 1710, died at The Hague 1792 : 


PORTRAIT OF LOUIS, DUKE OF BRUNSWICK- 


WOLFENBUETTEL (1718-1788) 
Bust, three-quarters to left, in armor. 


Clever India ink drawing; signed in lower left: Nv Schouman | 


fecit 1755. Framed. 
From the van Scheltema Collection. 


Height, 10 inches; width, 634 inches _ 


J. TAMBOER 
Dutch Artist, about 1800 


ABRAHAM VAN STRIJ (1753-1826), genre-painter of — 


Dordrecht, giving a drawing lesson to a pupil 
Water-color drawing in rich coloring. 


Signed in verso: J. Tamboer, 4 Maart 1816, na A. van Strij. 
Height, 914 inches; width, 8 inches © 


CORNELIS TROOST 
Amsterdam, 1697-1750 
Famous Dutch painter of the 18th Century 


THE PORTRAIT BUST OF J. CAMPO WEYERMAN | 


| 


(1677-1747) 


Painter and pamphletist ; surrounded by five cupids ea little 


fauns. 


Beautiful sanguine drawing from the Pinto and Habich q 
Collections; engraved. | Height, 7 inches; width, 53% inches _| 


52 


THOMAS GAINSBOROUGH 
MRS. SHERIDAN AND MRS. TICKELL 


[NUMBER 172 


2 te Ranta: “sneer yeni RE ener rye! SOP wee 


ase See Stas a Me a = Se 
eee = = 


CE 


7M 4 


oe: ae tion. Framed. 


a » 
hve ; aa A Ge ; 
Ane al i ie 
ae 4 won hat 
Pee 29 ‘. : . 
sn 


_ EIGHTEENTH CEN TURY 


| ENGLISH SCHOOL 
LOTS 171 to 183 


PRINCESS CAROLINE 
Daughter of King George <i 


BY “GROUP 
aying with five Children. 
ig drawing in black and red chalks, strongly under 
fluence of the French draftsmanship of the period, 
hat similar to the style of Portail, but weaker. 
t in ink: “Her Royal Highness, Princess Caroline, 
r King Ere: mal delineavit. a 


: rical associations. 7 Height, 7 1% inches; wait 1134 inches 


THOMAS GAINSBOROUGH 


 t7e7-1788 


_ SHERIDAN AND MRS. TICKELL, holding a Child, 
eated, in a landscape 
agni icent drawing in colored chalks in the master’s best 


rf 


Bf ; and most characteristic style. I have before me the repro- 


_ ductions of Gainsborough drawings in the British Museum 
and I do not see any finer specimen in that rich collection. 
- The drawing is a study for the painting in the Dulwich 


f aed In the painting, however, the little child is omitted, 


and I Dean that it was on account of the fact that the child 


oP “a4 “died between the execution of the drawing and the painting. 


es drawing of prime importance. From the Pfungst Collec- 
Height, 1134 inches; width, 9 inches 


[Sep ILLUSTRATION ] 


173 MOUNTAINOUS LANDSCAPE 
a ot Magnificent drawing in charcoal and white chalk high- lights 


on blue paper. (See note below the following item.) 
Height, 10 inches; width, 14 inches 


[Sen ILLUSTRATION ] 
53 


~*~ 


174 


LANDSCAPE 
In the foreground a man, apparently trying to pee a 
reluctant young cowherdess ; two cows to the left. 


Charcoal drawing in Gainsborough’s characteristic style. 


Height, 8 inches; width, 11% inches © 

When acquiring these two drawings the owner obtained a 
letter, part of which reads ‘‘These are characteristic studies 
by Gainsborough and unsurpassed of their kind. They are 
considered finer than similar drawings in the National Gal- 
lery, London. Purchased from the late Col. H. M. Skrine, 
J.P., C.C., and Lady Mary Skrine, of Warleigh Manor, near 
Bath, Somerset, England, and had never left the neighbor- 
hood of Bath, where they were produced by Gainsborough 
during his residence there. Exhibited at the Bath Art 
Gallery, 1911. 

Signed: Hugh Blaker, R.B.A., late Director of the ea 
Art Museum, Bath. 


THOMAS GAINSBOROUGH (attributed to) 


PORTRAIT OF A WOMAN in three-quarter length 
Beautiful charcoal drawing with touches of water-color. This — 
drawing was acquired by me from a western collector; on the 
reverse is a note: ‘‘Bought at the sale of Charles Letts, Esq. 
Collection in London at Hodgsons a few years ago.’’ P 
Signed Thos. Gainsborough. 
The reason that I do not give this drawing to Cabanas 
entirely without reserve is that I think that the face has been — 
tampered with by a different hand, the outline and eyes are 
too hard and not in keeping with the beautifully light touch 
of the rest of the drawing. A very good English authority 
shares this view of mine and does not hesitate to call the 
drawing and signature otherwise authentic. The face appar- 
ently was somewhat rubbed and the lines strengthened on — 
account of that, but by a rather unskilled hand. 

Height, 654 inches; width, 444 inches 


WILLIAM NELSON GARDINER 
1766-1814 
LORD POULETT 


Water-color drawing in miniature style. Signed W. G. in 
lower right. This drawing came into my possession attributed 
54 3 


Ce en et ca 


shape ss oagee rere nen tyres 
ow. 5 


ie ee a) 


THOMAS GAINSBOROUGH 
en ‘[womper 178)- 0) .- 


wg _— ate * ny —s i“ i —- = - ye — | , ae awk —> 
—_— ee ~—% ' a 


ORE yO mol ee eee ge 


a ee 


| 
| 
| 
| 


Evostor Harding, the miniaturist. I find in Bryan’s 
tionary that Gardiner, Bartolozzi and Harding collabo- 
ted in the latter’s publications, and therefore, supported 
he monogram, I think my attribution the correct one. 
Height, 514 inches; width, 45¢ inches 


ANGELICA KAUFFMAN 
1741-1807 


YOUNG WOMAN, SEATED 
5 in mourning attitude in front of a tombstone. 
~ Decorative water-color in the artist’s characteristic taste. 
Essence with the initials A.K. on the tombstone. 
se: _ From the James Saunders Collection, London. 
: é Z ena --—-——s Height, 8 inches; width, 1014 inches 


THOMAS STOTHARD 


1755-1834 


178 A LOVING COUPLE, SURPRISED 
Exquisite little pen and ‘India ink, delicately touched in 


“bg ne -water-colors. 
+ From the Be Collection. 


THOMAS STOTHARD (style of) 


179 MYTHOLOGICAL SCENE 
16° Charming English illustration, in pen and sepia wash. 
‘Framed. Height, 414 inches; width, 3 inches 


PAIR OF ENGLISH 18TH CENTURY BOOK ILLUS- 
TRATIONS 
In pen and sepia wash, by the same hand and in the same 


style as the preceding item. 
Height, 414 inches; width, 3 inches 


55 


Height, 434 inches; width, 3 inches © 


181 


182 


np 184 


Very clever pen and India ink drawing, mounted like the 


BEN JAMIN WEST 
1788-1820 


CHRIST IN THE HALL OF CAIPHAS a 
Sepia wash and pen drawing. Mounted. On the reverse | 
title and autograph signature of the artist q 
Masterly composition in Rembrandtesque chiaroscuro. " 
Height, 33@ inches; width, 514 inches 


CUPID STRINGING HIS BOW | oe a 


preceding item, with the autograph title and wae of f 


the artist on the reverse. 
Height, 814 ingle width, ae inche es 


THE DEATH OF CICERO a 
Pen drawing on slate grey ground, on an old mount, showing 
title and signature on the reverse, in West’s autograph. Very 
powerful. Height, 125g inches; width, 9 inches 


NINETEENTH CENTURY 


FRENCH AND ENGLISH ARTISTS 
LOTS 184 to 200 


EUGENE BALAN 
1809-1858 


LA FOIRE ST. ROMAIN A ROUEN, 1834 
Marvelously vivid water-color, strongly suggestive in avon oL 
the contemporary Isabey. An exquisite composition of masses 
and color. The title, name and date, transferred from the 
old mount to the back of the frame. Framed. 
Height, 4 inches; width, 634 inches 
FARMYARD a 
On the reverse the title: ‘‘Interieur de la ferme Bertrand, 
rue du Champ des Oiseaux, a Rouen. Abattue en 1834,” 


Name and date 1834. Water-color. Framed. “3 
A companion piece to the preceding item and of the same 
charming quality. Height, 334 inches; width, 614 inches 


56 


[yu 


iy 


> Fre 


JEAN BAPTISTE COROT 


ry 


188 


|yo ~ 


ROSA BONHEUR 
1822-1899 


FOUR CHARCOAL SKETCHES FOR THE “HORSE- 


FAIR’’ in one frame 
The lower one signed with the stamp Rosa B— in lower right. 
Three of the sketches on the upper sheet, one below. 
Highly interesting sketches for the famous painting in the 
Metropolitan Museum. From the Blumenstiel Collection. 
The upper, 6 inches; the lower, 45 inches high, both 1214 
inches wide. 


TWO SKETCHES OF LIONS, in one frame 

Above: Lion and Lioness, lightly drawn in grey chalk; very 
brilliant. 

Below: pen studies of three lions in the desert. The stamp 


~ Rosa B— in lower right. Framed. 


From the Blumenstiel Collection. 
Each 514 inches high; 1014 inches wide 


FRANCOIS BONVIN 
1817-1888 


With Courbet, the leading realist of the French School of the middle of 


the 19th Century 


A YOUNG GIRL, HOLDING A BASKET 
Water-color, signed and dated 1847. 


Exquisite aa comparable in quality to Millet. Framed. 
. Height, 8 inches; width, 514 inches 


JEAN BAPTISTE CAMILLE COROT 
. 1796-1875 
WIDE LANDSCAPE 
With large tree and classical ruins, five figures in the fore- 
ground. Signed Corot in lower right. 
Magnificent charcoal drawing of the greatest beauty, as 
typical as far as the hazy and almost mysterious quality of 
the atmosphere is concerned, as the best of the master’s paint- 
ings. Framed. 
From the J. Staats-Forbes Collection. 
Height, 1134 inches; width, 18%¢ inches 
[SEE ILLUSTRATION ] 
57 


GEORGE PERFECT HARDING 
Exhibited in London between 1802 and 1840 


Son of Sylvester Harding (distinguished chiefly by his water-color copies — 


190 


191 


of English historical Portraits) 


PORTRAIT OF A NOBLEMAN 


Water-color portrait in miniature style after an Old Master. | 
Framed. Height, 514 inches; width, 414 inches | 


FREDERIC, LORD LEIGHTON 
1823-1896 


HEAD OF A BEARDED OLD MAN, looking upward 


Sketch for the painting in Tate Gallery: ‘‘ And the Sea gave 
up the Dead which were in it.’’? See autograph pencil note 
in lower right: ‘‘The Sea giving up its dead.’’ 

A separate autograph signature appears in a special opening — 
in the mat. ; 

Excellent drawing in black and white chalk on brown paper. 
Published and reproduced in an English Art Magazine. — 
Framed. Height, 514 inches; width, 8 inches 


JEAN FRANCOIS MILLET 
1841-1875 


LE CHARBONNIER (The Charcoal-burner) 


He is pushing a wheel-barrow towards his primitive hut in 
the woods. 
Superb large charcoal drawing, signed J.F.M. in lower left. 


Framed. 
From the J. Staats-Forbes Collection. 
Height, 11 inches; width, 1514 inches 
[SEE ILLUSTRATION | 
58 


LGOL YAWN | 


LATTIN SIOONVAd NVal Ad AANUNT TVOOUVHO AHL 


bs 
es 


% 


2 


“es 


‘aie 


Ree Mads 


ies 
See 
oi 


S Seed 
Rea 


wo 
RH wom SE 


bakers 


3 P JASANTS IN CONV ERSATION WITH A SHEPHERD 

| Beautiful charcoal drawing in Millet’s characteristic manner, 
eS signed with the stamped initials in lower left. Framed. 
iy J Important drawing, from the J. Staats-Forbes Collection. 

| Height, 714 inches; width, 834 inches 


194 ook SLIGHT SKETCHES IN ONE FRAME 

‘o the left quick sanguine study of a figure, stamped in 
. a ae right. Center: Two small pencil sketches on one sheet, 
both stamped in lower left, to the right pencil figure of a 
a man, stamped in lower left. 
_ The two outer sketches, 6 inches high; 354 inches wide 
. The one in the center, 514 inches high; 314 inches wide 
z ‘Interesting sketches, acquired by the previous owner at the 
_ dispersal of the effects of the artist. 


Baer 


. ‘ST. JEROME, AT PRAYER, IN THE DESERT 

oF. Bold and vigorous pen sketch, in Rembrandtesque manner. 
% Stamped J. F. Millet, in lower left. 

_ Acquired from the same source as the preceding item. 
_ Framed. 5 Height, 6 inches; width, Mee inches 


196 PEASANTS AT REST | 
= 2 Magnificent little charcoal drawing in Millet’s best style. 
|4@ The stamped initials in the lower right. Framed. 
From the J. Staats-Forbes Collection. 
Height, 314 inches; width, 514 inches 


| 197 LA LEGON DE LECTURE 
+ Mother teaching her little daughter to read. 
4 Lovely and characteristic charcoal sketch. 
The stamped initials in lower right. Framed. 


~ From the same collection as the preceding item. 
Height, 8 inches; width, 534 inches 


198 INTERIOR OF A DARK CELLAR 


| h | ’ The light falling in through a small window in the thick wall, 


two empty baskets below. 
The stamped initials in lower right. Framed. 
From the J. Staats-Forbes Collection. 
Height, 61 inches; width, 634 inches 


59 


ee EE 


fv" 


his 


199 


200 


An unusual little sketch of much more solid modellin 


mt 


AUGUSTE | RODIN. 


GROUP OF A MAN AND CHILD Seta 
Small pen and India ink drawing; signed HR Rodi ” 
lower right corner. eS 


the more well-known Rodin drawings. “a 
Acquired directly from the artist by the previous ow 
Framed. Height, 334 inches; width, 2% i inch 


GABRIEL SALAMPIN 
Early 19th. Century 


STREET OF AN OLD TOWN : 


Water-color, signed and dated 1830. jl 
Charming water-color in the manner of Isabey and Boningto 
Framed. Height, 714 inches; width, 444 inch 


NE ee SN TT NT Ir SY eT es 


W he fies 
tithes 


A ees, 


= = =. Sears iL 
7 ata 
ee t= 


iO Seo s 


Ry ae ory 


3 3125 01663 1S 


hc j a 


sete! K 
GETTY RESEARCH INSTITUTE 


i 
7 


vee 
i] 
i 
1 | 
| | 
| | 

| 


a 
eu 
4 he. ph 


£ 


\ a 
ad y. | 


‘ 


mh 
rf 
Ae te i % 


yO AIR rR an IW Fe 
Siete Vuue 6 dite (etal tae doy 
ye biped Ree 


Wmdety 
eee Bye BT ty ve ee 
(re Fareed he 
Say AeA OR Mey 


a 


V6 


ea RVG AE +e) 
RENE eta seh 

SP Pap oR, 

SoPS GHANA 
ota vere e his) 
he Sal ea 

43 Te Pact at 

eh rerdeedy 4 .ub nna vy doen de mtr 
Ry Pe EE AA OUT AG Py dart ee 


Nang ee 
neh belay WAAR PANES Ee reese le 


aye SH 
Spe) oe Fe hae 
date habe 


regen 44 
SOS ene Np LA late. 
sr nwUrectinst 
Te AS Hye eth ae 

WRU Mierke, eeu Y rare ae 

eave Mie) Ba ey) 
eI: munyabeenaswi "7 Phe POH AL HG ne eet i ‘ 
: A i De $ 


iG RYNY Ebene sites Anes 


+, 


GN BRM UA AGE Ae a 
Ron 
ere pict, 
Me haan ity rae 
Prod FORE 


WR RW 
? reine 

roan ES Pa CEOLAEAU SEL 
Secret JESSE SROYY Tort 
Rebuy t Loner 


ies lae Piaae, us 
t Hae bth hahaa eye + qa Ty ‘un eu ciaatucaeti 
PON BLA Aa? Bog ey aN try HASTA 5 > esetenraed fuse 
2 eR Ey BRAN a Tab maple Nase parkieety 
AA PAS Ak Nay WEES Pair LE as ee re me 
Ari ier meekly: Pe CORIO’, a Dab 
Ageia 


ESD ENV AENES 
mak aS SEIN neh! Hupnexross * 
Bi SAUL NR CRN x abe eR) by 
‘bal DARGA TaD rr MEO IN AT 
shy Site Pvc er tt Ah 

Par Resa OF 

a r 
SREY GREE BEA Fence EME BR 


ery cat iig bea dpe Ee 
SARIS SVE ANP AR: 


a ben ps avn 
ig bea te Beret 
iS AYOP IRL 


ay TaScreeTehe 
sree Den i few isiieb 


Last ay 
aha hs es 
AR Ye ER URL 


ee 
Y XA bia Wack 
abyr end pot, 
mene een 
Aetnes 


ul ba 

bat 

re 

nore Sei 

eters 
a: peep 


aon cue 


ok epee 


Baie en 


se 


a 
te ata hie 
: a pein 
ie ee = oe 
Siieaterat tapes 
is Lote SAinuet 
in! 


Piast ea bie 


Noe 
ate Hs a ire 
ys aes oo 


; isthe mae ty ‘i 
ws aeeney aoe nee 
Seatiees ane ve : ae 
ae aN 


a taal 


A vated eae 


14 Fs Ke 
Tie Ce LT 


ane SNe Wty 


“hal 


ie RE eS 
Sia HR? 


Oot te \ 
ne rit aes Mee ROE Ge tubs 


By AP Webeud 
ACO he 


Ls th ib oaahich Soycag a etandl eric ae 
PAPE pinay 


td 


RAR LA tee 
‘ ithe eA lainey 
Ae re PDMS OY SRE Ag OH CDK 24 ide 2 
Loose hot Red DW es are heh Ed aad 


hy Bir sioG MH) PORN Maa esd Saal air ar 


Sat 
AEyieusk 


Rane [per ars ad et <4 


i Rye sits 
Hh WAP UD a aye } 
7 hs 


EU As Ree Relay, A 
aha giong £2 Na wh Re Ne $3 


Ri pie aL 


Wheres ioraednnee ress ey 


ay a cera ‘ 
Say A Ceaink 


ey Set 


wey cots 


+ to 7 


Wid aie we sed 
vend 


ey 


Be weed) fron 
Se VeerAnuleres 


Were wk ine 
vented! heey TAPING Mgt 
> DANA tht Vie 


ML eo 


Ny ke Bek < Pies 
sre 


¥ 


be leer Bre el 


+2 ut tip dy! FORAGE f 
ihe aalfpe a Heoty ted Ve 


see. 
aS 


vey 


Tyree 


sy et eed, 


LAG hers yr taLewr Ne? Barr Eeret! aul pate 
VACFEN LY eh Dele FRY YR Le 


Paes ae ee 


AREAS bel'ss Fah! * 


he 
RR feted te 
ae det Pa oar 


Vale 


Teahenety Sent shan Se 


apure the SEARS RGU 


ae reek Me 


pee tants 


pike 
i AaiS 
& \ be Whi 


wy, meena 
sUsd CUEEINGD 
Loan ey Sess ey ah 
tee Bae wa) 4h bl iy ve 
JAS EVER HEE ey OE 
aM BORRS 


Lys Se Ladies 2 


ies at i 


aie » 


at: 
eel 


a 


a 


A 
BAB os 
“ eke ae 
ie Serb irk § 


Dee 


eat 


nets 


Pn se 


ate 
sink HLL sy tM ayy 


AS 
ean A Shee 
Ky ae 
HPA Ato se Sethe 


ey eve oe Sera. 
eres aay i 
ah BY Heal a ate 


‘ee UE ae, ak 
anny! 


a act Aad 
ae ean 
ea eae "4! at bar 
minh 
nure 


OWA 

eu TLS AL 

raters 
Sees vt 


se 


Poh Lut ead 
ee aan 


Site 


is ra 
awn aah “te iH 


ea Bian Soe ye 


see: Phe 


un rh 
eecr Sei ie 


Bod TS te Ah 


aise fees gh, 
Baad i 
ae ae 
fs 


a 


see 


ce 


ananien ny 


ae 


oo 


pity 


nee 
ils eit Reerecres) 


Wd ha tok 
hanrehsl Ni ¥ 


cA ke 
GA Sr at HR) OF 


Pe ae ee 
Netivsatrest 
s, ee ibe§ 


tae cr Ns har 


Cale ik a 

NS Paris 
rte Om hy bee ’ a 
TATA 


se lly yo at 
hoya rt pedccd vty 


ry AS 48 
Py 
4 Ae ar Morne ay pthes MS 
Been 
miaiigt : 
eaN ih Ate 


nendertoe bey? 
oaks Oe tine wy 
» Om, Tie 

oN Meee RM: + Ae ie ry 

aA Crh hie ee 
ths, Wes CPt) we Ath me rere 
oe LAAT YS» At ® A 
hake: at 


Se) SAPP +g Gi. 
ti, 


rant vat mead 
HAS ode he 
) ¥ 


Sittasie pa 


i At 
ea ih 
4 rei 

Neng Pity 


Srey. 
Reo ae el 


4 igs bts te 5 


es Ave *) ae & a) ut a 


val art aa 
3 


tas Aye 
ee SA 
x Ress “ 
vip LA abd nay ‘are 
' shy par 
AL fps te aoe 


hie x tr ais 
i aby yy i my ree 


wt bys 


ir 
te Kae 


Sta) 
NK 


